Joan Miró

Private collects ion, Japan
Acquired from the above by the present owner in 2002

Executed on sandpaper laid down on canvas. Some minor cracking in sandpaper at lower left and some very minor cracking to left of figure at right. Some minor abrasions to sheet at extreme edges and corners. Under UV light: a nail-head sized spot of inpainting near bottom left to the right of the dark blue spot. Otherwise fine, in very good condition. Colors: Sheet is a creamier tone, colors are more vibrant and the contrast is stronger than in the catalogue illustration.
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For Miró the years 1927-1937 were punctuated by great experimentation with different.mes dia in his oeuvre.  In addition to the conventional use of canvas and paper as supports, the artist proved to be a bold innovator who shattered the barriers of accepted "techniques."  Beginning in the late 1920s, employing tar paper, masonite and other found objects on which to create his works, Miró also incorporated sandpaper as a support as well as an element that could be used in collage.

During World War II, the artist painted on what little canvas he could gather and turned his attention primarily to creating works on paper.  The present work, executed in 1954, harks back to his era of experimentation, but builds on his previous work by incorporating a more playful experience for the viewer. 

Jacques Dupin notes, "Although painted on different materials (besides canvas, the artist used cardboard, masonite, and felt paper) and in different.mes dia (oil, watercolor, pastel), these works of 1954 form a homogenous group characterized by a direct expressly clumsy style, and frequent use of dotted lines and single dots (Fig 1).  The dots or small disks produce effects of nocturnal light, and help to scatter the colors which are rarely employed in their pure state or in clearly defined areas.  There is a similar discontinuity in the graphism, which is more passionate and often tighter than before.  Its strikingly rough aspect requires a thorough utilization of the backgrounds.  Once again, our customary terms, - sports, scumbles, rubbings s, sprayings, pulverizations, etc. - are inadequate to describe the diverse operations by means of which Miró animated and sensitized space in his canvases...  All these paintings disclose the artist's pursuit of a fruitful clumsiness in his graphism, an attempt, as it were, to approximate the state of innocence requisite to coming upon some primitive treasure trove (J. Dupin, Miró, Ediciones Polígrafa, Barcelona, 1993, p. 301), 

Indeed, after Miró secured his financial independence thanks to the success of his exhibitions which were received to critical acclaim at the Museum of Modern Art as well as the Pierre Matisse Gallery in New York, his resulting work was less hostile. 

Fig. 1 Joan Miró, Sans titre, 1954, ink and watercolor on paper, 8½ by 12 3/8 inches (20.5 by 31.5 cm), Private collects ion