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拍品专文
This work is sold with a photo-certificate from Jacques Dupin.
Towards the end of Miró's life, his name already held in esteem the world over, and a Foundation opened in his honour in Barcelona (another would later follow in Palma), the artist continued to work, experiment, and stretch his horizons. He was to die just two years after Personnage was executed. However, because Miró always viewed his work as his life's mission, as an intimate lifelong portrait, he believed that his last work would be as significant as the first: 'The question of the date is purely anecdotal.' Miró commented 'What matters is the work as a whole during my life; when I can't carry on I will bare my soul.' (quoted in Gli ultimi sogni di Miró, exh. cat., Museo Pecci, Prato, 1994, p. 42).
Ever self-reflective and analytical, in 1974 Miró offered an insight into how he executed his work during his later years: 'I work in stages. First stage, the blacks; and then the rest, which is determined by the blacks.' (quoted in M. Rowell, ed., Joan Miró, Selected Writings and Interviews, London, 1987, p. 285). One can observe the import of this initial process when one studies the unfinished canvases found in his studio at his death, some of which were left incomplete after this 'first stage', with the initial black brushstrokes marking out the beginnings of many pictures (see Dupin, cat. rais., nos. 1968-1981).
The resulting Personnage seen here is, nonetheless, in no way abstract: 'Form for me is never something abstract, it is always a token of something. It is always a figure, a bird, or something else. For me form is never an end in itself.' (quoted in Joan Miró: A Retrospective, exh. cat., The Solomon R. Guggenheim Museum, New York, 1987, p. 52). Indeed, in this work, one can see how Miró uses the patches of red to act as a counterweight to balance the black and give the character its unity, its form and a sense of naïveté. In a literal and figurative sense he adds character and personality through colour, which invests the composition with a particular blend of playfulness, vitality, strength and charm. The freedom of the splashes and strokes of green, red and yellow, executed with unpremeditated speed, demonstrate the vigour and spontaneity that Miró continued to bring to his late work, no less here than in the paintings he had done as a much younger man more than a half-century earlier.
Towards the end of Miró's life, his name already held in esteem the world over, and a Foundation opened in his honour in Barcelona (another would later follow in Palma), the artist continued to work, experiment, and stretch his horizons. He was to die just two years after Personnage was executed. However, because Miró always viewed his work as his life's mission, as an intimate lifelong portrait, he believed that his last work would be as significant as the first: 'The question of the date is purely anecdotal.' Miró commented 'What matters is the work as a whole during my life; when I can't carry on I will bare my soul.' (quoted in Gli ultimi sogni di Miró, exh. cat., Museo Pecci, Prato, 1994, p. 42).
Ever self-reflective and analytical, in 1974 Miró offered an insight into how he executed his work during his later years: 'I work in stages. First stage, the blacks; and then the rest, which is determined by the blacks.' (quoted in M. Rowell, ed., Joan Miró, Selected Writings and Interviews, London, 1987, p. 285). One can observe the import of this initial process when one studies the unfinished canvases found in his studio at his death, some of which were left incomplete after this 'first stage', with the initial black brushstrokes marking out the beginnings of many pictures (see Dupin, cat. rais., nos. 1968-1981).
The resulting Personnage seen here is, nonetheless, in no way abstract: 'Form for me is never something abstract, it is always a token of something. It is always a figure, a bird, or something else. For me form is never an end in itself.' (quoted in Joan Miró: A Retrospective, exh. cat., The Solomon R. Guggenheim Museum, New York, 1987, p. 52). Indeed, in this work, one can see how Miró uses the patches of red to act as a counterweight to balance the black and give the character its unity, its form and a sense of naïveté. In a literal and figurative sense he adds character and personality through colour, which invests the composition with a particular blend of playfulness, vitality, strength and charm. The freedom of the splashes and strokes of green, red and yellow, executed with unpremeditated speed, demonstrate the vigour and spontaneity that Miró continued to bring to his late work, no less here than in the paintings he had done as a much younger man more than a half-century earlier.