In 1938, Miró immersed himself in the etching techniques at the workshop of Louis Marcoussis, a fellow painter and an accomplished printmaker who had his own printing press. It was the poet Tristan Tzara who introduced the two artists. It must have been a sympathetic environment, for Miró made twenty-two prints, exploring the mediums potential for scratched lines, concentrated intensity when executed on small-scale copperplates, and inherent capacity for thematic variation.
In the Black and Red Series, Miró combined imagery from two compositions, each etched on a separate copperplate. He used black and red ink alternately, and then rotated and superimposed the plates as he printed them on paper.