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He began printmaking relatively late, in 1930, but  craftsmen who helped him described the studio atmosphere around Miró as one of 'continuous exhilaration and youthful enthusiasm'. This accompanied the childlike, 'primitive' style of work like <i>Les Forestiers</i>. The printers Crommelynck and Dutrou were among the most gifted in Paris, and their assistance enabled Miró to achieve the freshness of colour and texture seen here. Miró also learned from the English printmaker S. W. Hayter, whose Atelier 17 in Paris, set up in 1927 but relocated for a while to New York (1945-1950), was the ideal location for artists interested in experimenting with printmaking, especially in intaglio methods such as engraving and aquatint.","physicalDescription":"Colour aquatint on paper. 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Colour etching. 1958","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"Timmers, Margaret (ed), <i>Impressions of the Twentieth Century: Fine Art Prints from the V&A's Collection</i>, London, V&A Publications, 2001"}],"production":"","productionType":{"text":"Limited edition","id":"THES48862"},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[{"text":"Surrealism","id":"x35568"}],"contentLiteraryRefs":[],"galleryLabels":[],"partNumbers":["E.5336-1960"],"accessionNumberNum":"5336","accessionNumberPrefix":"E","accessionYear":1960,"otherNumbers":[],"copyNumber":"47/75","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-04-12","recordCreationDate":"2002-12-16","availableToBook":false}}