Acquavella Galleries, New York
Hakoné Museum, Gôra, Japan
Acquired from the above
Wichita, Edwin A. Ulrich Museum of Art, Wichita State University, Joan Miró. Paintings and Graphics, 1978
Washington, D.C., Hirshhorn Museum and Sculpture Garden, Smithsonian Institution & Buffalo, Albright-Knox Art Gallery, Miró, 1980, no. 45, illustrated in color in the catalogue
Houston, The Museum of Fine Arts, Miró in America, 1982, no. 32, illustrated in color in the catalogue
Zurich, Kunsthaus & Düsseldorf, Kunsthalle, Miró, 1986, no. 167, illustrated in color in the catalogue
New York, The Solomon R. Guggenheim Museum, Miró, 1987, no. 145, illustrated in color in the catalogue
Jacques Dupin, Miró, Paintings V. 1969-1975, Paris, 2003, no. 1599, illustrated in color p. 203
The frenetic expressiveness of the artist's brushwork here calls to mind the works of Willem de Kooning completed around the same time. After his trip to New York in 1947, Miró became acquainted with the art of the Abstract Expressionists and was fascinated by their new techniques and their aesthetic agenda. As the artist later recalled, the experience of seeing canvases of the Abstract Expressionists was like "a blow to the solar plexus." Several young painters, including Jackson Pollock, were crediting Miró as inspiration for their wild, paint-splattered canvases. In the years that followed he created works that responded to the enthusiasm of this younger generation of American painters and the spontaneity of their art. It was also under their influence that he started painting on a large scale, such as in the present work. The paintings he created from the early 1950s onwards are a fascinating response to these new trends of abstraction, while at the same time showing Miró's allegiance to his own artistic pursuits.
By the time he completed the present work in 1974, Miró's composition had gained a level of expressive freedom and exuberance that evidenced his confidence in his craft. Jacques Dupin elaborated on the semiotic importance of figuration in these late paintings, "[t]he sign itself was no longer the image's double, it was rather reality assimilated then spat out by the painter, a reality he had incorporated then liberated, like air or light. The importance of the theme now depended on its manner of appearing or disappearing, and the few figures Miró still endlessly named and inscribed in his works are the natural go-between and guarantor of the reality of his universe. It would perhaps be more fruitful to give an account of those figures that have disappeared than of the survivors" (ibid. pp. 339-40).
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