Joan Miró

Galerie Adrien Maeght, Paris (acquired by 1986)
Arnold Herstand & Co., New York

Tokyo, Musée d'Art Isetan (and travelling in Japan), Joan Miró, 1986, no. 55, illustrated in colour in the catalogue

Executed on white wove paper, not laid down, attached to the mount at intervals along all four edges, floating in the mount. The upper, right and lower edges are uneven. There are five areas of paper rubbing at intervals along the sheet and instrinsic to the artist's process. There is a light flattened crease running horizontally across the lower part of the work. Apart from some minor creases and handling marks along the sheet, mainly to the egdes, some slight undulation instrinsic to the mounting process and some light studio dirt, this work is in good condition. Colours: The paper tone is whiter and less grey and the yellow and purple tones are slightly stronger in the original.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Joan Miro's ideas and inspirations were often expressed on paper, a medium that allowed him to experiment and push the boundaries of his seemingly endless artistic journey. The forms and characters seem to be spontaneous and almost carefree, often drawn on the back of letters or strips of paper. Whether this would lead to a larger work would often appear at a later stage; such spontaneity was Miro's great strength.

A wonderful example of one of these masterpieces on paper is the present work from 1979. On this long-sized format Miro has combined primary colours with a number of drawn symbols (figures,drips, stars). This impressive composition begins with the green triangle on the top followed by swirled elements going downwards in a rhythmic movement. It is this creative hand combined with his cautious eye that grant each of these elements a special, substantial artistic weight.