PROPERTY FROM A PRIVATE SWISS COLLECTION
Galerie du Lion d'Or, France
Acquired from the above by the grandmother of the present owner in the 1950s
Jacques Dupin & Ariane Lelong-Mainaud, Joan Miró, Catalogue raisonné. Paintings, Paris, 2001, vol. III, no. 659, illustrated p. 21
Unlike Dalí and Magritte, who never abandoned figurative painting, the Surrealist ideology encouraged Miró to eliminate representation from his canvases. Coinciding with his own pictorial experiments, it encouraged him to abandon pictorial realism in favour of the imaginary. A technique of primary importance in the present composition is Miró’s expressive use of line. He uses whimsical and ambiguous forms that first appear abstract, only to gradually take form. The central figure of a woman is executed in a freely meandering line, her hollow, translucent shape set against a monochrome white background. In its powerful simplicity, Femme devant le soleil reveals a mastery of the void, exploring a very new sense of space. Verging between figuration and abstraction, Miró’s forms originate from the world of dreams and the unconscious, their other-worldly character emphasised by the void of the background.
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