Personnage, oiseau displays the artist’s fascination with the relationship between the pictorial and musical, the composition framed by the image of musical notation. "[Miró] liked Jazz a great deal," Joan Gardy Artigas, the artist’s companion at jazz clubs in New York and Chicago, wrote, and the influence of the music is strongly felt in the later works. The Jazz pianist Dave Brubeck pointed to the affinities between Miró’s style and the dynamic rhythms of Jazz: "he has expressed in visual terms my own approach to music—that is, a search for something new within old forms, an unexpected perspective, a surprising order and inner balance that belies the spontaneity of composition" (quoted in Brenda Lynne Leach, Looking and Listening: Conversations between Art and Music, Lanham, Maryland, 2014, p. 73). Intricately composed and structured, the present work communicates a spontaneous frisson like that of an improvised jazz solo. As Jacques Dupin proposed, '[is] the bird not the painter himself who looks...above all for the power to fly and sing with intensity?” (Jacques Dupin, Miró, Saint-Paul-de-Vence, 1979, p. 26).
Fig. 1 Joan Miró, Femmes, oiseau au clair de la lune, 1949, oil on canvas, Tate Gallery, London
Fig. 2 Joan Miró, Tête humaine, 1931, oil, wood, wire, sandpaper and thread on canvas, sold: Sotheby's, New York, May 2, 2012, lot 11 for $14,866,500
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