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Lot Essay
ADOM (Association pour la défense de l'oeuvre de Joan Miró) has confirmed the authenticity of this drawing.
Miró married Pilar Juncosa in Palma Majorca in October 1929, and the couple moved to Paris, where their daughter Maria Dolores was born the following year. During this time Miró made numerous drawings of women, such as the present work. Describing a related carnet of drawings dedicated to Pilar, Jacques Dupin wrote, "Miró's line has never been surer or freer, and is at the same time dominated by consciousness of form. The music of the lines combines with the plasticity of figures to produce effects of ease and elegance. We seem to be sharing the joy of a lover less concerned with immobile contemplation than with providing accompaniment for the infinite movement of grace, setting it down at separate moments as unique caprices. Dream and reality have become identical in the counterpoint, the interlacing of the lines, and blissfully confident of the music they suggest and the forms they stir to life" (Miró, New York, 1993).
Originally owned by A. Conger Goodyear, the present drawing belongs to the long tradition of the Goodyear family's patronage of the arts. General Anson Conger Goodyear, the son of Charles and Ella Conger Goodyear, followed his mother's footsteps by serving on the board of the Albright Art Gallery, where he promoted early acquisitions of modern art, before moving to New York City to help found the Museum of Modern Art in 1929. As president, he and fellow trustee, Paul J. Sachs, were responsible for hiring Alfred H. Barr, Jr. as the museum's first and most influential director.
Miró married Pilar Juncosa in Palma Majorca in October 1929, and the couple moved to Paris, where their daughter Maria Dolores was born the following year. During this time Miró made numerous drawings of women, such as the present work. Describing a related carnet of drawings dedicated to Pilar, Jacques Dupin wrote, "Miró's line has never been surer or freer, and is at the same time dominated by consciousness of form. The music of the lines combines with the plasticity of figures to produce effects of ease and elegance. We seem to be sharing the joy of a lover less concerned with immobile contemplation than with providing accompaniment for the infinite movement of grace, setting it down at separate moments as unique caprices. Dream and reality have become identical in the counterpoint, the interlacing of the lines, and blissfully confident of the music they suggest and the forms they stir to life" (Miró, New York, 1993).
Originally owned by A. Conger Goodyear, the present drawing belongs to the long tradition of the Goodyear family's patronage of the arts. General Anson Conger Goodyear, the son of Charles and Ella Conger Goodyear, followed his mother's footsteps by serving on the board of the Albright Art Gallery, where he promoted early acquisitions of modern art, before moving to New York City to help found the Museum of Modern Art in 1929. As president, he and fellow trustee, Paul J. Sachs, were responsible for hiring Alfred H. Barr, Jr. as the museum's first and most influential director.