.jpg?w=1)
Lot Essay
ADOM (Association pour la défense de l'oeuvre de Joan Miró) has confirmed the authenticity of this work.
Executed in 1934, the present work is one of a series of works the artist completed during a phase of intense experimentation. At the beginning of that year, he tried numerous combinations of new and different media, including black and white sheets of paper with sandpaper, powdered pastels and collage with oil paints. Referring to the sand paper collage series which the present work belongs to, Jacques Dupin wrote, “In his collage-paintings he made much of the difference in texture between bits of white paper cut out in simple forms and the grittiness of sandpaper. He inscribed a rapid, flexible stroke on the white paper, continuing it without a break in the black lines painted on the sandpaper. The abrupt shift in textures and mediums introduces a tension that is only resolved and made rhythmic through the flexible interplay of the forms. Thus the painter conveyed the sensation of being one with natural growth, the profound pulsations of the earth and the seeds of life germinating in it. There is no anxiety in these works–only the astonishment we can read in the expression of the animals” (J. Dupin, Miró, Paris, 2012, p. 183).
Executed in 1934, the present work is one of a series of works the artist completed during a phase of intense experimentation. At the beginning of that year, he tried numerous combinations of new and different media, including black and white sheets of paper with sandpaper, powdered pastels and collage with oil paints. Referring to the sand paper collage series which the present work belongs to, Jacques Dupin wrote, “In his collage-paintings he made much of the difference in texture between bits of white paper cut out in simple forms and the grittiness of sandpaper. He inscribed a rapid, flexible stroke on the white paper, continuing it without a break in the black lines painted on the sandpaper. The abrupt shift in textures and mediums introduces a tension that is only resolved and made rhythmic through the flexible interplay of the forms. Thus the painter conveyed the sensation of being one with natural growth, the profound pulsations of the earth and the seeds of life germinating in it. There is no anxiety in these works–only the astonishment we can read in the expression of the animals” (J. Dupin, Miró, Paris, 2012, p. 183).