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Lot Essay
'In 1942 and 1943 Miró produced a great many works, all on paper... They are explorations undertaken with no preconceived idea - effervescent creations in which the artist perfected a vast repertory of forms, signs and formulas, bringing into play all the materials and instruments compatible with paper... The object of all these explorations is to determine the relationship between drawing and the materials, the relationship between line and space. The artist is not so much interested in expressing something with appropriate technique, as in making the material express itself in its own way...
'New forms and constant color surprises result from Miró's insistent explorations of the materials in all their richness and diversity. These works on paper are all variations on a single theme, Woman-Bird-Star... On hundreds of sheets of paper dating from 1942 and 1943, we can follow them as they clown around, run their foolish errands, play their whimsical or mysterious games. Their enormous capacity for life is subject to no law save that of the internal logic of their birth and development. Miró's drawing is prodigiously inventive: the hundredth woman and the hundredth bird are as new as the first or the fiftieth. What accounts for this unbroken freshness can only be the artist's constant renewal of his means of expression, his ability to treat the artistic materials as forever fresh and untouched' (J. Dupin, Joan Miró, Life and Work, London, 1962, pp. 372-374).
'New forms and constant color surprises result from Miró's insistent explorations of the materials in all their richness and diversity. These works on paper are all variations on a single theme, Woman-Bird-Star... On hundreds of sheets of paper dating from 1942 and 1943, we can follow them as they clown around, run their foolish errands, play their whimsical or mysterious games. Their enormous capacity for life is subject to no law save that of the internal logic of their birth and development. Miró's drawing is prodigiously inventive: the hundredth woman and the hundredth bird are as new as the first or the fiftieth. What accounts for this unbroken freshness can only be the artist's constant renewal of his means of expression, his ability to treat the artistic materials as forever fresh and untouched' (J. Dupin, Joan Miró, Life and Work, London, 1962, pp. 372-374).