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28

PROPERTY OF A DISTINGUISHED PRIVATE COLLECTOR

Joan Miró
FEMME ET OISEAUX II
Estimate
700,0001,000,000
LOT SOLD. 725,000 USD
JUMP TO LOT
28

PROPERTY OF A DISTINGUISHED PRIVATE COLLECTOR

Joan Miró
FEMME ET OISEAUX II
Estimate
700,0001,000,000
LOT SOLD. 725,000 USD
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Evening Sale

|
New York

Joan Miró
1893 - 1983
FEMME ET OISEAUX II
Signed Miró (lower right); signed Miró, dated 7/1/67 and titled (on the reverse)
Oil on sandpaper
79 1/2 by 23 5/8 in.
202 by 60 cm
Painted on January 7, 1967.
Read Condition Report Read Condition Report

Provenance

Galerie Maeght, Paris (acquired from the artist)

Private Collection, France (sold: Christie's, London, July 2, 1998, lot 193)

Acquired at the above sale

Exhibited

Paris, Galerie Maeght & New York, Pierre Matisse Gallery, Miró, l'oiseau solaire, l'oiseau lunaire, étncelles, 1967, no. 3 (in Paris), illustrated in the catalogue

Belgium, Knokke-Heist, Casino of Knokke, Joan Miró, 1971, no. 49, illustrated in the catalogue

Osaka, Kintetsu Museum of Art; Hyogo, Amagasaki Cultural Center; Tokyo, Isetan Museum of Art; Chiba, Chiba Sogo Museum of Art & Hakone, Hakone Open Air Museum, Miró, 1991, no. 24, illustrated in the catalogue

Literature

Pere Gimferrer, Miró colpir sense nafrar, Barcelona, 1978, no. 186, illustrated in color p. 203

Rosa María Malet, Joan Miró, Barcelona, 1984, no. 84, illustrated in color

Jacques Dupin & Ariane Lelong-Mainaud, Joan Miró, Catalogue raisonné, Drawings, Vol. III: 1960-1972, Paris, 2012, no. 1944, illustrated in color p. 144

Catalogue Note

A pendant to the work which he painted two days before (see previous lot), Femme et oiseaux II is a calligraphically powerful composition from 1967.  Miró's highly graphic rendering in these works gives only a vague sense of its titular subject, which is chiefly a vehicle for the artist's emphatic application of black paint.  The gesture is not unlike the tag of an urban graffiti artist, where the economized, bold mark is the unmistakable calling card of a complex artistic persona. For his support, Miró here selects a mechanically-produced sandpaper. The interaction of glossy black paint and rough-hewn paper creates a dramatic tension. Although he would begin using sandpaper as early as the 1930s, rarely would the support appear on such a monumental scale as in these works from 1967.

Jacques Dupin touches upon the artist's graphic emphasis in paintings from the 1960s: "In some cases, the artist stressed the power, the brutality of a summary, rough graphism, born of a single gesture and closely related to graffiti.  In other cases, a few economical, light lines serve as counterpoint to the free play of splashes and spots of color. Seemingly contradictory, both approaches reflect a mistrust of the sign, a desire to eliminate calculated, fixed forms from his vocabulary so as to gain in spontaneity, directness, and a purer revelation of the act of painting" (J. Dupin, Miró, New York, 2003, p. 303).

While its counterpart was sent by the artist to New York, Miró gave this work to his Paris based dealer Maeght.

Impressionist & Modern Art Evening Sale

|
New York