- 35
胡安·米羅
估價
800,000 - 1,200,000 USD
招標截止
描述
- 胡安·米羅
- 《被月夜觸怒，鳥兒癡愛纏繞的狗》
- 款識：畫家簽名 Miró（右上）；簽名 Miró、題款並紀年1955(背面）
- 油彩紙本，裱於卡紙
- 8 3/8 x 10 3/8英寸
- 21.3 x 26.3公分
來源
Galerie Maeght, Paris
Anders Dalén, Lidingö, Sweden
Perls Gallery, New York
Acquired from the above in May 1986
展覽
Liljevalchs, Kosthall, Joan Miró, 1972, no. 12
出版
Jacques Dupin, Miró, Paris, 1961, no. 876, p. 550
Jacques Dupin & Ariane Lelong-Mainaud, Joan Miró, Catalogue raisonné, vol. III: 1942-1955, no. 993, illustrated p. 250
拍品資料及來源
With its playful and evocative title, this 1955 work presents familiar characters from Miró's imagined universe. The work's title, A Dog Enraged by a Moonlit Night, Haunted by the Love of Birds- finds its origin in the automatic writing espoused by the Surrealists but its correlation to the painting is legible. Miró delights in the absurdism of this narrative.
By the time he executed this work, Miró had developed a lexicon of signs and symbols that weaved among his compositions. As Jacques Dupin wrote with regard to the works of mid-1950s: "To study the form, their distribution and their composition, to elucidate the rhythms and the distribution of the colors, gets us nowhere. Precisely because the artist has not 'elaborated,' but has let us come face to face with the pure creative act itself, our instruments of investigation are useless. And yet the brutal forms thus projected are neither arbitrary nor are they mere products of some automatism. They are always related to Miró’s vocabulary of signs and other elements of his language, but they are spontaneous; they are not 'worked up' emanations of this language, but a deliberate simplification of it. Hence their expressive power is all the greater; their energy has been caught at the source and let go at once, the sign being the condensed vehicle of subterranean energy that otherwise would be dispersed and lost" (Jacques Dupin, Miró, Barcelona & New York, 1993, p. 294).
By the time he executed this work, Miró had developed a lexicon of signs and symbols that weaved among his compositions. As Jacques Dupin wrote with regard to the works of mid-1950s: "To study the form, their distribution and their composition, to elucidate the rhythms and the distribution of the colors, gets us nowhere. Precisely because the artist has not 'elaborated,' but has let us come face to face with the pure creative act itself, our instruments of investigation are useless. And yet the brutal forms thus projected are neither arbitrary nor are they mere products of some automatism. They are always related to Miró’s vocabulary of signs and other elements of his language, but they are spontaneous; they are not 'worked up' emanations of this language, but a deliberate simplification of it. Hence their expressive power is all the greater; their energy has been caught at the source and let go at once, the sign being the condensed vehicle of subterranean energy that otherwise would be dispersed and lost" (Jacques Dupin, Miró, Barcelona & New York, 1993, p. 294).