35
35

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

Joan Miró
CHIEN ENRAGÉ PAR UNE NUIT DE LUNE HANTÉE PAR LES AMOURS DES OISEAUX
Estimate
800,0001,200,000
JUMP TO LOT
35

PROPERTY FROM A PRIVATE COLLECTION, NEW YORK

Joan Miró
CHIEN ENRAGÉ PAR UNE NUIT DE LUNE HANTÉE PAR LES AMOURS DES OISEAUX
Estimate
800,0001,200,000
JUMP TO LOT

Details & Cataloguing

Impressionist & Modern Art Evening Sale

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New York

Joan Miró
1893 - 1983
CHIEN ENRAGÉ PAR UNE NUIT DE LUNE HANTÉE PAR LES AMOURS DES OISEAUX
Signed Miró (lower right); signed Miró, titled and dated 1955 on the reverse
Oil on paper mounted on cardboard
8 3/8 by 10 3/8 in.
21.3 by 26.3 cm
Painted in 1955.
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Provenance

Galerie Maeght, Paris

Anders Dalén, Lidingö, Sweden

Perls Gallery, New York

Acquired from the above in May 1986

Exhibited

Liljevalchs, Kosthall, Joan Miró, 1972, no. 12

Literature

Jacques Dupin, Miró, Paris, 1961, no. 876, p. 550

Jacques Dupin & Ariane Lelong-Mainaud, Joan Miró, Catalogue raisonné, vol. III: 1942-1955, no. 993, illustrated p. 250 

Catalogue Note

With its playful and evocative title, this  1955 work presents familiar characters from Miró's imagined universe. The work's title,  A Dog Enraged by a Moonlit Night, Haunted by the Love of Birds- finds its origin in the automatic writing espoused by the Surrealists but its correlation to the painting is legible. Miró delights in the absurdism of this narrative. 

By the time he executed this work, Miró had developed a lexicon of signs and symbols that weaved among his compositions. As Jacques Dupin wrote with regard to the works of mid-1950s: "To study the form, their distribution and their composition, to elucidate the rhythms and the distribution of the colors, gets us nowhere. Precisely because the artist has not 'elaborated,' but has let us come face to face with the pure creative act itself, our instruments of investigation are useless. And yet the brutal forms thus projected are neither arbitrary nor are they mere products of some automatism. They are always related to Miró’s vocabulary of signs and other elements of his language, but they are spontaneous; they are not 'worked up' emanations of this language, but a deliberate simplification of it. Hence their expressive power is all the greater; their energy has been caught at the source and let go at once, the sign being the condensed vehicle of subterranean energy that otherwise would be dispersed and lost" (Jacques Dupin, Miró, Barcelona & New York, 1993, p. 294).

Impressionist & Modern Art Evening Sale

|
New York