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拍品专文
Drawn to the imaginative liberties that Surrealism offered, Miró began experimenting in 1924 with the new idiom of automatic painting. The artist had been particularly struck by one of André Breton's precepts of Surrealism--painting as "thought's dictation, all exercise of reason and every aesthetic or moral preoccupation being absent". Previously, he had more or less painted objectively, utilizing descriptive forms based on actual experience or his dreams. Now the artist championed the technique of automatism leaving the origins of his paintings to chance and accident. These works, produced in Paris between 1925-1927, are often referred to as his "dream paintings", direct expressions of his dreams trapped at their source.
"The differences between these and Miró's earlier [paintings] were based on physical perceptions, intermingled with sensations and emotions from memory's stronghold, to be rendered in schematic yet descriptive form. In contrast, Miró's first properly Surrealist works are inspired by a 'purely interior model' dictated sometimes by accidents--blots or splotches that call forth hallucinatory images--and sometimes by a state of international relinquishment in which the artist has no conscious control over creation 'I was drawing almost entirely from hallucinations. Hunger was a great source of these hallucinations and I would sit for long periods looking at the bare walls of my studio trying to capture those shapes on paper or burlap'" (M. Rowell, Miró, New York, 1970, p. 14).
In Miró's paintings from this period, the stretcher bar marks are oftentimes visible on the surface of the canvas, as seen in the present work. Caroline Lanchner has observed:
A curiously little-remarked phenomenon characterizes the majority of paintings done after drawings of the A to E series. Sometimes subtly, sometimes brazenly, their surface films of scumbled paint are applied so as to show the traces of underlying stretcher bars. When Miró observed 'I have always evaluated the poetic content according to its plastic possibilities', his reference was not specifically to these paintings of 1925, but they illustrate his point. His unorthodox exploitation of the
basic constituent fact of traditional easel painting-that, before all else, the field of operation is a canvas supported by a rectangle of wood and one or more crossbars-parallel the way his poet friends used the very arbitrariness of language to open it to new meanings (C. Lanchner, Joan Miró, exh. cat., The Museum of Modern Art, New York, 1994 p. 42).
Miró had joined the Surrealist group in 1924 and had participated in the first Surrealist group exhibition at the Galerie Pierre in 1925. By which time his work was beginning to elicit excited responses and wide praise. He worked alongside other passionate Surrealists like Max Ernst, René Magritte, Jean Arp, and the poet Paul Eluard.
In the present work, Miró uses a simple compositional scheme to create enigmatic space with floating biomorphic objects, viewed by the simplified white form of a man's head with a moustache. Though humor is an integral aspect of Surrealism, the amusing childlike simplicity and wit of the image is unique to Miró. His powerful gift of poetic suggestion is achieved through his inventive use of abstract forms freed from formal convention thus providing a fertile spontaneity of irrational association.
"The differences between these and Miró's earlier [paintings] were based on physical perceptions, intermingled with sensations and emotions from memory's stronghold, to be rendered in schematic yet descriptive form. In contrast, Miró's first properly Surrealist works are inspired by a 'purely interior model' dictated sometimes by accidents--blots or splotches that call forth hallucinatory images--and sometimes by a state of international relinquishment in which the artist has no conscious control over creation 'I was drawing almost entirely from hallucinations. Hunger was a great source of these hallucinations and I would sit for long periods looking at the bare walls of my studio trying to capture those shapes on paper or burlap'" (M. Rowell, Miró, New York, 1970, p. 14).
In Miró's paintings from this period, the stretcher bar marks are oftentimes visible on the surface of the canvas, as seen in the present work. Caroline Lanchner has observed:
A curiously little-remarked phenomenon characterizes the majority of paintings done after drawings of the A to E series. Sometimes subtly, sometimes brazenly, their surface films of scumbled paint are applied so as to show the traces of underlying stretcher bars. When Miró observed 'I have always evaluated the poetic content according to its plastic possibilities', his reference was not specifically to these paintings of 1925, but they illustrate his point. His unorthodox exploitation of the
basic constituent fact of traditional easel painting-that, before all else, the field of operation is a canvas supported by a rectangle of wood and one or more crossbars-parallel the way his poet friends used the very arbitrariness of language to open it to new meanings (C. Lanchner, Joan Miró, exh. cat., The Museum of Modern Art, New York, 1994 p. 42).
Miró had joined the Surrealist group in 1924 and had participated in the first Surrealist group exhibition at the Galerie Pierre in 1925. By which time his work was beginning to elicit excited responses and wide praise. He worked alongside other passionate Surrealists like Max Ernst, René Magritte, Jean Arp, and the poet Paul Eluard.
In the present work, Miró uses a simple compositional scheme to create enigmatic space with floating biomorphic objects, viewed by the simplified white form of a man's head with a moustache. Though humor is an integral aspect of Surrealism, the amusing childlike simplicity and wit of the image is unique to Miró. His powerful gift of poetic suggestion is achieved through his inventive use of abstract forms freed from formal convention thus providing a fertile spontaneity of irrational association.