While Miro created his first lithographs in the 1930s it was a decade later that he became deeply involved with the technique. His first lithographs were created as illustrations for Tristan Tzara’s L’arbre des Voyageurs. A period of indifference followed his first attempts, as was the case with Picasso, who was to become his friend.

In 1939, after a period of painting and copper engraving, Miro settled in Normandy, near his friend Georges Braque, who encouraged him to make lithographs. When the Germans unleashed their offensive and descended on France, Miro returned to Spain, determined to follow the advice of Braque. In Montroig he began to draw his lithos and found an old friend, Joan Prats who printed and published Miro’s works.

After the Liberation, Miro returned to Paris and it was there that he truly discovered lithography. Working with Celestin, one of the best French printers, in 1947 several projects were started. That year, Miro left for the United State where New York publisher Curt Valentin suggested he publish, in a small format, a series of lithographs that had been printed in Barcelona. Miro agreed and the lithographs were published under the title The Prints of Joan Miro.

Upon his return to France, he divided his time between Paris, Montroig and Barcelona, dedicating the greater part of his Parisian visits to lithography. From this period dates an important series of impressions that enabled the Parisian public to become better acquainted with the work of Joan Miro.