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Lot Essay
Jacques Dupin has confirmed the authenticity of this work.
Femme, oiseaux is a recurrent title in Miró's late works. Titles were never a starting point for Miró, but they gradually emerged in the work process, the image linking itself with a poetic idea, which in return offered the beholder an interpretation of Miró's signs and colours. Jacques Dupin, poet, author, critic, and a close friend of Miró, reflected on the the meaning of Femme, Oiseaux : 'was this woman the familiar and hypnotizing goddess-mother, and was not the bird the painter himself, seeking refuge - of course - but also the strength of its flight and the intensity of its song?' (J. Dupin, Miró, Barcelona, 1993, p. 354). Dupin further suggested that the artist's treatment of the Femme, oiseaux motif 'offers one of the keys to Miró's cosmic imagination. It exposes conflict, and translates the unstable balance of the heavenly and earthly into a struggle between woman and bird... There is no weight or stability in this poetic stylisation of woman engaged in metamorphosis between the fixed and the flying. The analogy between the two creatures and the intricacies of their lines are such that it is difficult to tell where the woman ends and the bird begins or if they do not in fact form together a single marvellous hybrid' (quoted in Miró, exh. cat., Fondation Pierre Gianadda, Martigny, 1997, p. 158).
Femme, oiseaux is a recurrent title in Miró's late works. Titles were never a starting point for Miró, but they gradually emerged in the work process, the image linking itself with a poetic idea, which in return offered the beholder an interpretation of Miró's signs and colours. Jacques Dupin, poet, author, critic, and a close friend of Miró, reflected on the the meaning of Femme, Oiseaux : 'was this woman the familiar and hypnotizing goddess-mother, and was not the bird the painter himself, seeking refuge - of course - but also the strength of its flight and the intensity of its song?' (J. Dupin, Miró, Barcelona, 1993, p. 354). Dupin further suggested that the artist's treatment of the Femme, oiseaux motif 'offers one of the keys to Miró's cosmic imagination. It exposes conflict, and translates the unstable balance of the heavenly and earthly into a struggle between woman and bird... There is no weight or stability in this poetic stylisation of woman engaged in metamorphosis between the fixed and the flying. The analogy between the two creatures and the intricacies of their lines are such that it is difficult to tell where the woman ends and the bird begins or if they do not in fact form together a single marvellous hybrid' (quoted in Miró, exh. cat., Fondation Pierre Gianadda, Martigny, 1997, p. 158).