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Lot Essay
Jacques Dupin has confirmed the authenticity of this work.
Figure belongs to a series of around 1950 named 'Spontaneous Paintings' by Jacques Dupin (see fig. 1): 'In 1950 Miró began to employ a wider variety of techniques and mediums in his series of spontaneous paintings and sometimes added incongruous materials, producing what he calls 'picture/objects'. Whenever he chooses a material like cardboard or masonite, it is obviously in order to obtain different effects. Thus with a needle or chisel he may engrave signs that contrast with his painted signs, and the furrows they make let the texture of the cardboard or masonite show through. In this way he adds to his range of provocative effects, to the play of the materials....All the canvases we have just surveyed are 'wild' works, but without cruelty, unlike the pre-war works. They convey the pulsation of primitive life that seems to resurrect some long-buried, unknown vegetation of a harder vitality than before' (J. Dupin, Joan Miró, Life and Work, London 1962, pp. 429-30).
Figure belongs to a series of around 1950 named 'Spontaneous Paintings' by Jacques Dupin (see fig. 1): 'In 1950 Miró began to employ a wider variety of techniques and mediums in his series of spontaneous paintings and sometimes added incongruous materials, producing what he calls 'picture/objects'. Whenever he chooses a material like cardboard or masonite, it is obviously in order to obtain different effects. Thus with a needle or chisel he may engrave signs that contrast with his painted signs, and the furrows they make let the texture of the cardboard or masonite show through. In this way he adds to his range of provocative effects, to the play of the materials....All the canvases we have just surveyed are 'wild' works, but without cruelty, unlike the pre-war works. They convey the pulsation of primitive life that seems to resurrect some long-buried, unknown vegetation of a harder vitality than before' (J. Dupin, Joan Miró, Life and Work, London 1962, pp. 429-30).