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拍品詳情

Art Impressionniste et Moderne

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巴黎

Joan Miró
1893-1983年
PAINTING
signed Miró and dated 3.31 (towards lower centre); signed Joan Miró and dated 3-31 (on the reverse)
oil and collage on metal
18,1 x 20 cm; 7 1/8 x 7 7/8 in.
Executed in March 1931. 
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來源

Georges Hugnet, Paris
Private collection, Paris (acquired from the above)
Sale: Sotheby's, Paris, December 8, 2011, lot 24
Acquired at the above sale by the present owner

出版

Jacques Dupin & Ariane Lelong-Mainaud, Joan Miró, Catalogue Raisonné, Paintings, 1931-1941, Paris, 2000, vol. II, no. 344, illustrated p. 28

相關資料

In a 1927 interview with the art critic Tériade, Miró declared that he wanted to "assassinate painting". This "anti-painting" crisis was reflected from 1930 onwards in his experimentation with new techniques and materials in his art. As a result, 1931 was the year of superimposed materials, collages and "object-paintings". The collage technique, in particular, represents a significant part of the artist's work. Miró did not think of collage in the Cubist manner; rather, he decided to apply it to new media, creating original associations, for example, by combining paper and wood with a metal or aluminium stand.

As Margit Rowell has pointed out, pieces from this period constituted a major revolution in Miró's body of work, and the collages he made at that time would go on to serve as a source of inspiration for the paintings created several years later, forming the alphabet of a prototype language that the artist continued to use from then on: "The assemblages Miró made at the time are, by their economy of means and the great plasticity of the materials used, wonderful poetic pictograms. In the past, a descriptive detail would bear a relationship to reality; now, it is the texture, the rhythm of the forms, their dynamism, and the impression they leave in the eye and the memory of the viewer, that become reality itself" (Margit Rowell, Joan Miró, Peinture = Poésie, Paris, 1976, p. 55).

Art Impressionniste et Moderne

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巴黎