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拍品專文
Sold with a photo-certificate from Jacques Dupin dated Paris, le 24 janvier 89.
"I personally don't know where ..[I'm] heading. The only thing that's clear to me is that I intend to destroy, destroy everything that exists in painting. I have an utter contempt for painting. The only thing that interests me is the spirit itself, and I only use the customary artist's tools - brushes, canvas, paints - in order to get the best effects." (Joan Mir in conversation with Francisco Melgar, quoted in Spanish Artists in Paris, Madrid, January 24, 1931)
Executed in the summer of 1929, Et is a remarkable drawing that in its sparse style and use of heavy grey sandpaper as a background anticipates the important series of collages that Mir began in late July 1929, when the artist made a conscious attempt "to murder painting."
In the present work, Mir has reduced his graphic vocabulary to its furthest possible point by abandoning colour completely, confining himself to simple and even charcoal lines and by refining his forms into cipher-like symbols or personal hieroglyphs. Three, possibly four, distinct personnages can be identified. Represented by conical forms set against a rippled horizon line that, combined with the sandpaper surface of the work, conveys the atmosphere of a beach scene, the three main figures are distinguished from one another by a single attribute. One figure clearly sports a "Daliesque" moustache, while another in a close parallel to the painting Joie of 1925, is accompanied by the word "Joi", which is heavily inscribed on a newspaper-like rectangle. Mir has deliberately shaped the "i" of the word "Joi" in such a way as to suggest a "u" and therefore possibly the beginning of the word "Journal". This is an obvious wink at the Cubist pictures of Picasso and Braque. The crescent shape projected by the figure on the left seems to be a parasol but like all the clearly separate elements of the picture, this is not made explicit.
Given the painting's title, the beach scene atmosphere and the imposing use of the word "Joie", it is tempting to interpret this work as relating to Mir's idyllic visit to Mallorca in the summer of 1929, where the artist met and became engaged to Pilar Juncosa. Returning to Montroig in late July, Mir wrote to his friend Sebasti Gasch, "Now I start to work and I believe I will be in top form very soon."
"I personally don't know where ..[I'm] heading. The only thing that's clear to me is that I intend to destroy, destroy everything that exists in painting. I have an utter contempt for painting. The only thing that interests me is the spirit itself, and I only use the customary artist's tools - brushes, canvas, paints - in order to get the best effects." (Joan Mir in conversation with Francisco Melgar, quoted in Spanish Artists in Paris, Madrid, January 24, 1931)
Executed in the summer of 1929, Et is a remarkable drawing that in its sparse style and use of heavy grey sandpaper as a background anticipates the important series of collages that Mir began in late July 1929, when the artist made a conscious attempt "to murder painting."
In the present work, Mir has reduced his graphic vocabulary to its furthest possible point by abandoning colour completely, confining himself to simple and even charcoal lines and by refining his forms into cipher-like symbols or personal hieroglyphs. Three, possibly four, distinct personnages can be identified. Represented by conical forms set against a rippled horizon line that, combined with the sandpaper surface of the work, conveys the atmosphere of a beach scene, the three main figures are distinguished from one another by a single attribute. One figure clearly sports a "Daliesque" moustache, while another in a close parallel to the painting Joie of 1925, is accompanied by the word "Joi", which is heavily inscribed on a newspaper-like rectangle. Mir has deliberately shaped the "i" of the word "Joi" in such a way as to suggest a "u" and therefore possibly the beginning of the word "Journal". This is an obvious wink at the Cubist pictures of Picasso and Braque. The crescent shape projected by the figure on the left seems to be a parasol but like all the clearly separate elements of the picture, this is not made explicit.
Given the painting's title, the beach scene atmosphere and the imposing use of the word "Joie", it is tempting to interpret this work as relating to Mir's idyllic visit to Mallorca in the summer of 1929, where the artist met and became engaged to Pilar Juncosa. Returning to Montroig in late July, Mir wrote to his friend Sebasti Gasch, "Now I start to work and I believe I will be in top form very soon."