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131

PROPERTY OF A PRIVATE EUROPEAN COLLECTION

Joan Miró
NACIMIENTO DE LA BANDERA CATALANE (MAQUETTE ORIGINALE POUR UNE DES PLANCHES REPRODUITES DANS LE LIVRE 'LES ESSENCIES DE LA TERRA')
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131

PROPERTY OF A PRIVATE EUROPEAN COLLECTION

Joan Miró
NACIMIENTO DE LA BANDERA CATALANE (MAQUETTE ORIGINALE POUR UNE DES PLANCHES REPRODUITES DANS LE LIVRE 'LES ESSENCIES DE LA TERRA')
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Details & Cataloguing

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Joan Miró
1893 - 1983
NACIMIENTO DE LA BANDERA CATALANE (MAQUETTE ORIGINALE POUR UNE DES PLANCHES REPRODUITES DANS LE LIVRE 'LES ESSENCIES DE LA TERRA')
signed Miró. and dated VI/68. (lower right)
gouache and brush and ink and wash on paper laid down on board
49.4 by 75.8cm., 19 1/2 by 29 7/8 in.
Executed in June 1968.
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The authenticity of this work has been confirmed by ADOM.

Provenance

Galería Atenas, Zaragoza
Collection Royo-Sinués, Zaragoza
Acquired from the above by the present owner

Catalogue Note

Executed in 1968, Les Essencies de La Terra models Miró’s unorthodox and spontaneous approach to medium and form.  Miró applies black ink with emphatic heavy strokes, inserts colour in seemingly arbitrary splashes and casts aside the brush in favour of his hand.  Miró’s radical use of materials was a means to subversion; the painterly genre was his target. ‘He wanted to extend the boundaries of painting, to go ‘beyond’… he took pleasure in transgressing the genres of painting, playfully disrespecting its techniques and supports’, wrote Jacques Dupin of Miró (Jacques Dupin & Ariane Lelong-Mainaud, Joan Miró, Catalogue raisonné, Paintings, vol. IV: 1959-1968, p. 8).  In the late 1960s and early 1970s, Miró adopted the hand motif as a vehicle to explore celestial bodies. Theatrically gestural, Miró’s palm print is an index of his creative vitality and spontaneous creation.  The imprint of an ink stained palm is an extension Miró’s automatic forms, made more immediate by the removal of any intermediary tool.  Marvellously whimsical, the present work displays Miró’s signature joie de vivre.     

In Les Essencies de la Terra we see the distillation of form to the most economical of pictorial means.  Executed with the technical assurance and calligraphic boldness perfected by Miró in the latter decades of his career, Les Essencies de la Terra shows Miro’s style verging between figuration and abstraction.  By utilising negative space in conjunction with bright colours, the artist creates a sensation of monumentality and universality within the composition.  ‘I always feel the need to achieve the maximum of intensity with the minimum of means… A modelled form is less surprising than a form as yet un-modelled. Without modelling or chiaroscuro, the depth is unlimited: movement can be extended to infinitude. Little by little I have managed to reach a point at which I use no more than a small number of forms and colours (quoted in Perucho, Joan Miró y Cataluña, Barcelona, 1968, pp. 238-46).

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