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Joan MiróL'Oiseau1970
1970
About the Item
"L'Oiseau" is a sculpture by Surrealist Joan Miró. The bronze sculpture is signed verso, "Miro" and inscribed 'N.3', and with foundry stamp 'Clementi cire perdue (Paris).
André Breton called Miró “the most surrealist painter of all of us,” with endearment and respect, he added that Miró’s childlike imagination was a case of “arrested development.” When Miró applied that fertile imagination to sculpting, the creation of a presence that lives alongside us prompted new inspiration for Miró. Still, his sense of humor and what he called the “truly phantasmagoric world of living” remained intact. L’Oiseau is a bronze cast in 1970 that showcases Miró’s interest in incorporating disparate, found objects and creatively reassembling them. In this instance, the bronze is set upon a battered concrete block that embraces the imperfections of its textured surface. It is not a shocking assemblage, but it does continue his knack for dark formal humor and quirky forms that recalls the work of other European artists such as Picasso, Arp, and Alberto Giacometti.
L’Oiseau revives Miró’s obsession with birds and the associated concerns of independence and freedom that are of paramount importance for even the most taciturn Catalan citizen. There is also a sense of the grotesque here: the patinated, plucked body of a chicken, a drooping protuberance of eyes, and an open beak suggest an avian form full of alarm. Taken at those values, L’Oiseau is a nightmarish projection of having those inalienable rights taken away. Perhaps it is something more, or something less, but other bronzes of 1970 such as The Tightrope Walker (Tate Museum, London) and Personnage et oiseau (Figure and Bird), (Yale University Art) appear similarly engaged in exploring the precarious nature of life and portraying existential themes with humor and irony.
L’Oiseau, 1970 is a lifetime cast Bronze in an edition of five (1/4 – 4/4), plus N O for Fundacion Miró and one nominative cast gifted to Fondation Maeght.
Provenance:
Pierre Mattise Gallery
Acquavella, New York, acquired from the above
Private Collection, Spain, acquired from the above
Exhibition:
Madrid, Galería Guereta, Joan Miró: Histoire D'une Statuette, 14 November 2007 - 14 January 2008
Literature:
Fernández, Miró E., Chapel P. Ortega, and Joanna Martinez. Joan Miró: Sculptures, Catalogue Raisonné: 1928-1982, Paris, 2006, no. 197, ed. 3/4
- Creator:Joan Miró (1893 - 1983, Catalan)
- Creation Year:1970
- Dimensions:Height: 23.875 in (60.65 cm)Width: 20 in (50.8 cm)Depth: 16.125 in (40.96 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Palm Desert, CA
- Reference Number:
Joan Miró
With his wide-ranging oeuvre, comprising strikingly original paintings, prints, ceramics, sculptures, metal engravings and murals, Catalan modernist Joan Miró was a critical force in moving 20th-century art toward complete abstraction. Although often considered an early Surrealist because of his nonobjective imagery and evocation of the subconscious, he defies neat categorization.
Miró’s identity is largely rooted in the city of his birth: Barcelona. To this day, a number of his public artworks can be found there, including the 72-foot-tall statue Dona i Ocell (Woman and Bird), 1983. Female and avian forms, along with bright colors and the theme of Catalan pride, are recurring elements in his work.
The radical visual world Miró created with his expressive lines, signature symbols and biomorphic shapes influenced such American Abstract Expressionists as Jackson Pollock and Color Field painters like Mark Rothko and Barnett Newman.
Mirò continued to work and experiment until his death at the age of 90 in 1983. Five years before that, he was quoted saying, “I painted these paintings in a frenzy, with real violence so that people will know that I am alive, that I’m breathing, that I still have a few more places to go. I’m heading in new directions.”
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