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Lot Essay
This work is sold with a photo-certificate from Jacques Dupin dated Paris, 4 janvier 1979.
Danseuse, étoile, musique is a highly romantic work from 1938, that draws on the archetypal forms appearing to Miró's unconscious, united in one fluid and expressive visual poem. Merging Miró's greatest loves - music, the dancer, and the night sky -, it was created during the second World War, a time of great personal upheavel for the artist, who evidently chose to escape the tragedy by celebrating the cultural vitality and ancient mysticism of his homeland.
Roland Penrose has explained Miró's use of such subjects. The figures of the woman and the dancer are, in particular, an important symbol of spiritual and cultural independence. 'As the producer of life she is possessed of brilliance and authority. She finds her place among the elements, standing before the sun, the moon or the stars or with birds in the night and she is equally powerful as a symbol of darkness and of death...Miró's entry into these regions is unpremediated. His images spring directly from the universal realm described by Jung as the 'collective unconscious', rather than from any deliberate intellectual process of thought...Far-reaching implications are born from the ligthness of touch which makes his work both a simple delight and a profound experience. Woman and bird, substance and void, the obvious and the inexpressible, are brought within our experience. Behind the cheerful, innocent, even tranquil look in his face, Miró has never been immune to attacks of violent anguish and depression. He has, however, always been able to balance the threats of imminent disaster by equally potent forces. It is the ability to live with these tensions with comprarative equanimity that gives his presence among others a unique quality and a sense of controlled power' (Miró, London, 1970, p. 96).
Danseuse, étoile, musique is a highly romantic work from 1938, that draws on the archetypal forms appearing to Miró's unconscious, united in one fluid and expressive visual poem. Merging Miró's greatest loves - music, the dancer, and the night sky -, it was created during the second World War, a time of great personal upheavel for the artist, who evidently chose to escape the tragedy by celebrating the cultural vitality and ancient mysticism of his homeland.
Roland Penrose has explained Miró's use of such subjects. The figures of the woman and the dancer are, in particular, an important symbol of spiritual and cultural independence. 'As the producer of life she is possessed of brilliance and authority. She finds her place among the elements, standing before the sun, the moon or the stars or with birds in the night and she is equally powerful as a symbol of darkness and of death...Miró's entry into these regions is unpremediated. His images spring directly from the universal realm described by Jung as the 'collective unconscious', rather than from any deliberate intellectual process of thought...Far-reaching implications are born from the ligthness of touch which makes his work both a simple delight and a profound experience. Woman and bird, substance and void, the obvious and the inexpressible, are brought within our experience. Behind the cheerful, innocent, even tranquil look in his face, Miró has never been immune to attacks of violent anguish and depression. He has, however, always been able to balance the threats of imminent disaster by equally potent forces. It is the ability to live with these tensions with comprarative equanimity that gives his presence among others a unique quality and a sense of controlled power' (Miró, London, 1970, p. 96).