Joan Miro (1893-1983)
Joan Miro (1893-1983)

Tête de femme

Details
Joan Miro (1893-1983)
Tête de femme
oil on burlap
24 x 18 1/8in. (61 x 46cm.)
Painted in Varengeville-sur-Mer, November 1939
Provenance
Pierre Matisse Gallery, New York.
Richard Feigen Gallery, Chicago (acquired from the above).
Dr. and Mrs. Richard W. Levy, New Orleans (acquired from the above, 1964).
Richard L. Feigen & Co., New York (1967).
Perls Galleries, New York.
Acquired from the above by the family of the present owner, 1968.
Literature
J. Dupin, Joan Miró, Life and Work, New York, 1962, no. 532 (illustrated, p. 541).
J. Dupin and A. Lelong-Mainaud, Joan Miró, Catalogue raisonné, Paris, 2000, vol. II, p. 226, no. 622 (illustrated).
Exhibited
New York, Pierre Matisse Gallery, Miró, December 1942.
London, The Tate Gallery and Zurich, Kunsthaus, Joan Miró, August-December 1964, no. 165 (illustrated, pl. 32b).
New York, Perls Galleries, 24 Major Acquisitions, February-April 1968, no. 14 (illustrated).
Bogotá, Museo d'Arte Moderno; Buenos Aires, Museo Nacional de Bellas Artes; Montevideo, Museo Nacional de Artes Plasticas; Caracas, Museo de Bellas Artes; Lima, Instituto de Arte Contemporaneo; Santiago, Museo Nacional de Bellas Artes; City of Auckland Art Gallery, and Sydney, Museum of Art, El Arte del Surrealismo, August 1971-Octobre 1972, p. 19 (illustrated).

Lot Essay

In August, 1939, just before the outbreak of World War II, Miró rented 'Clos des Sansonnets', a house in Varengeville on the Normandy coast near Dieppe where he lived until May 1940. There he painted several important series which culminated in the first gouaches of the celebrated Constellations.

Jacques Dupin has designated one of these series as Varengeville II, which the artist painted on burlap. He described Miró's brushwork and use of line as "...darting forth, defining the figures and stars and imparting its inspired joyfulness to the entire surface. The frequency and insistency of the black areas leaves little room for color...What we do find in the way of color, however, is very intense: these touches are like sparks in the night...[and] the entire surface has been mobilized so that the figures are bathed in nocturnal light" (J. Dupin, op. cit., p. 354).

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