Private Collection, France (sold: Christie's, London, July 2, 1998, lot 193)
Acquired at the above sale
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
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
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.
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