Montroig, Spain late July–early October 1929
Conté crayon, gouache, ink, flocked paper, newspaper, abrasive cloth, and various papers on flocked paper, 28 5/8 x 42 3/4” (72.7 x 108.6 cm)
The Museum of Modern Art, New York. James Thrall Soby FundPhotograph: John Wronn. © 2008 Successió Miró/Artists Rights Society (ARS), New York/ADAGP, Paris
Montroig, Spain, late July–early October 1929
Conté crayon, ink, and flocked paper on paper, 28 15/16 x 22 1/16” (73.5 x 56 cm)
Private collection. Courtesy Malingue S.A., Paris, and Waddington Galleries, LondonWaddington Galleries, London. © 2008 Successió Miró/Artists Rights Society (ARS), New York/ADAGP, Paris
Joan Miró: Painting and Anti-Painting 1927–1937
Click: Miro at MoMAto see the online exhibition - this is a super presentation and teaching tool, once you click on the first painting in each series click again on the explore icon, you hear the voice of the curator and conservator describing and explaining the meaning and techique behind each series. You can zoom in on each piece and many have a written description of the process. Very interesting.
THe Museum of Modern Art states: "This is the first major museum exhibition to identify the core practices and strategies Miró used to attack and reinvigorate painting between 1927 and 1937, a transformative decade within his long career. Taking his notorious claim—“I want to assassinate painting” —as its point of departure, the exhibition explores twelve of Miró’s sustained series from this decade, beginning with a 1927 group of works on canvas that appears to be raw and concluding with 1937’s singular, hallucinatory painting, Still Life with Old Shoe. Acidic color, grotesque disfigurement, purposeful stylistic heterogeneity, and the use of collage and readymade materials are among the aggressive tactics that Miró used in pursuit of his goal. By assembling in unprecedented depth the interrelated series of paintings, collages, objects, and drawings of this decade, this exhibition repeatedly poses the question of what painting meant to Miró and what he proposed as its opposite, and in the process reveals the artist’s paradoxical nature: an artist of violence and resistance who never ceased to be a painter, a creator of forms. A fully illustrated catalogue accompanies the exhibition".