Acquired by the present owner by 2001
Basel, Kunsthalle, Joan Miró, 1956, no. 141
Zurich, Kunsthaus, Joan Miró. Das plastiche Werk, 1972, no. 7 (titled Planche double face, as dating from 1950 and with incorrect measurements)
Stunning in its simplicity as well as its daring innovativeness, the present work eloquently exemplifies this complex, paradoxical quality of Miró’s art: it is at once a painting and a sculpture or, perhaps, neither a painting nor a sculpture. While the very title denotes it as a painting, it contains images on two sides and is therefore experienced as a three-dimensional object. Combining the techniques of collage and painting, the artist creates a simple yet expressive image, relying solely upon the lexicon of signs and symbols that he had developed over the years. By incorporating found materials such as bark and pieces of scrap card, he adds to the three-dimensional character of the work, blurring the traditional boundaries between ‘high’ and ‘low’ art. As the authors of the recent exhibition Miró and the Object wrote: ‘Miró disrupted conventional approaches to painting by incorporating non-painterly materials or by selecting unusual formats, thereby both denying the medium’s traditional function as illusion and affirming its material status as an object’ (Miró and the Object (exhibition catalogue), Fundació Joan Miró, Barcelona, 2015-16, p. 93).
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