Paris: Maeght Editeur, 1956. Color, b/w Illustrations. First Edition. Paperback. 4to - over 9¾" - 12" tall. Very Good. Item #00537869
Includes An Original Joan Miro Painting in Ink and Watercolor, Showing a Self-Portrait of the Artist Meeting Famed Screen Star Rita Hayworth: A True Icon of the Intersection of Art and Culture An original paiting by Joan Miro graces Rita Hayworth's own copy of Joan Miro by Jacques Prevert and G. Ribemont-Dessaignes. The work was the property of Rita Hayworth, is personally inscribed to her, and bears a portrait of her (and of Joan Miro), on the occasion of their meeting. The book is signed by both authors, each of whom has drawn flowers as a means of expressing devotion sentiment towards Rita Hayworth. Published by Maeght Editeur in Paris, 1956, the text includes some 160 color and black and white illustrations, and a total of 10 original lithographs by Joan Miro printed by Mourlot (8 in the text, 2 on the cover). 7 of the lithographs are in color, and among them are included several double-page gatefolds. Right hand detail shown of Miro painting. Author Jacques Prevert has boldly inscribed the volume at top: A Rita Hayworth en amite d'un soir et du [layt...?] Jacques Prevert" The painting by Miro is difficult to image. It extends across the entire page from left to right. Medium: Miro has used a very heavy application of a 'China' rubber-based ink which appears to have been extruded rather than drawn. It rises up from the page like an oil paint, rather than being absorbed. The left panel, showing Miro waiting to approach Rita Hayworth, is tinted in a characteristic cloud of blue watercolor, perhaps chosen to evoke by the coldness and neutrality of the blue a sense that the room was cold away from Hayworth. The right panel, where Miro shows himself extended to kiss the hand of the glamorous Hollywood star, is tinted in a happier swirl of red, perhaps chosen to evoke the warming effect of being in Hayworth's presence. It is SIGNED at far right by Miro, in a more traditional and lighter ink. The book is also signed and warmly and boldly inscribed by the authors (prominent French art historians and critics) to Rita Hayworth. The occasion must have been that of the opening. The left hand detail of Miro's painting shows Miro himself waiting to Meet Rita Hayworth. The characteristic blue swirl of cloud evokes chill and loneliness, much in contrast to the joyous and celebratory red warmth of his kissing her hand upon their actual meeting. CONDITION: The dust jacket included 2 original lithographs (there is some wear to edges of cover; the text has some evidence of old damp including some dampstaining and a chip from a prior adhesion). Biographies: Rita Hayworth: Called by the New York Times "The definitive femme fatale of the 1940s", Rita Hayworth (1918-1987) began her early Hollywood career under her real name, Margarita Cansino. She was the daughter of famed Spanish dancer Eduardo Cansino and a Ziegfeld Follies showgirl (Volga Haworth), and though in her early career (while under the name Cansino) she was very much the Spanish beauty with striking raven hair, she was transformed by Columbia Studios into a more Anglo appearance, and adopted a variation of her Mother's maiden name. Oft-married, Hayworth had a long list of husbands including Orson Welles, Prince Aly Khan (son of the Aga Khan III), singer Dick Haymes, producer James Hill, and her manager Edward Judson... Hayworth's long and celebrated career (in such landmark films as Howard Hawks' "Only Angels Have Wings", "Blood and Sand", etc.) placed her in leading or starring roles opposite a who's who of Hollywood leading men, including Welles, Sinatra, Tyrone Power, Fred Astaire, Charles Boyer, Gene Kelly, Robert Mitchum, Anthony Quinn, Glenn Ford, Ricardo Montalban, Yul Brynner, John Wayne, David Niven, Burt Lancaster, Rex Harrison, Gary Cooper, Charles Laughton, Victor Mature, Adolphe Menjou, Ralph Bellamy, Cary Grant, 1956 was the year that she starred, with Frank Sinatra & Kim Novak, in the classic film musical of John O'Hara's Pal Joey , which was released New Year's Day, 1957. Joan Miro: Joan Miro (1893-1983), born in Barcelona Spain, world-renowned Spanish member of the Surrealist movement, is generally considered to be one of the dozen most important artists of the 20th century. Miró's first major museum retrospective was held in 1941 at the Museum of Modern Art, New York. 1956 marked the high point of Miro's devotion to printmaking, and his experimentation with various forms of graphic art. This Maeght publication is a natural outgrowth of his fascination with and work in this medium. He received the Grand Prize for Graphic Work at the Venice Biennale in 1954, and his work was included in the first Documenta exhibition in Kassel the following year. Important Miró retrospectives have been held my MOMA, the Musée National d?Art Moderne, Paris, the Grand Palais, Paris, etc. Miro's touching and clear affection for Hayworth may have been due, in part, to their common Spanish heritage. Jacques Prevert: Jacques Prévert (1900-1977) French poet, Surrealist and author of works on Surrealism, and screenwriter. His works are frequently anthologized in American collections of French poetry. He was the author of screenplays and dialog for a number of film, many by Marcel Carne, including most famously, "Les Enfants du Paradis" (1945). As a leading member of the French cinematic community, Prevert's affection for Hayworth would have been natural. G. Ribemont-Dessaignes Georges Ribemont-Dessaignes (1884-1974) was not only one of France's leading art historians dealing with the Dada and Surrealist movements, but a former artist, associate of Tristan Tzara, and one of the literary pioneers of the Dada movement in his own right. The author of works on Dada, Surrealism, Miro, Man Ray (he authored the first monograph on Man Ray), he also collaborated on livre d'artiste with Max Ernst, Georges Braque, Picabia, et al. Ribemont-Dessaignes had begun his career as a painter, and "Following a moral crisis in 1913... had abandoned painting, but after induction into the army in 1915 he began to compose music and poetry, and, in 1916, he wrote L'Empereur de Chine, which has been considered the first Dada play" (Camfield).