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245

Joan MiróSolitude III/IIIÖl und Kohle auf Karton. 75 x 105 cm. Gerahmt. Unten links schwarz signiert

In Modern Art

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Joan MiróSolitude III/IIIÖl und Kohle auf Karton. 75 x 105 cm. Gerahmt. Unten links schwarz signiert
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Joan Miró
Solitude III/III

Öl und Kohle auf Karton. 75 x 105 cm. Gerahmt. Unten links schwarz signiert 'miró'. Rückseitig schwarz signiert, datiert und betitelt 'MIRÓ 29/4/60 Solitude III/III'.

Dupin/Lelong-Mainaud Paintings, Vol. IV, 1011

Provenienz
Pierre Matisse Gallery, New York (rückseitig mit dem Galerie-Etikett); Acquavella Galleries, New York; Galerie Michael Haas, Berlin; Privatsammlung

Ausstellungen
New York 1965 (Pierre Matisse Gallery) Cartones, Kat. Nr. 5; New York 1972 (The Solomon R. Guggenheim Museum), Joan Miró: Magnetic Fields, Kat. Nr. 38 mit Abb. S. 129; Berlin 2012 (Galerie Michael Haas), Joan Miró, o. Kat. Nr. mit Farbabb.

Literatur
Jacques Dupin, Miró, Paris 1961, Nr. 905 mit Abb. S. 552; Margit Rowell, Joan Miró. Peinture = Poésie, Paris 1976, Abb. S. 102; Barbara Reil/Roland Doschka, Miró Sternennächte, Ausst. Kat. Stadtmuseum Lindau 2013, S. 70/71 mit Farbabb.

„Der erste Morgen, der letzte Morgen, die Welt erwacht. Soll ich die Einsamkeit suchen, die dunkle Sprache, um so das bebende, unbeständige Leben besser zu fassen? Worte hat mein Mund, die ich mir da draußen wünschte, im Herzen dieser unschuldigen Welt, die zu mir spricht und mich sieht und mir zuhört und deren leuchtend klare Metamorphosen Miró schon immer gespiegelt hat.“ (Aus: Paul Eluard, Mirós Epiphanien (Naissance de Miró), 1937, zit. nach: Ausst. Kat. Joan Miró. Arbeiten auf Papier 1901-1977, hrsg. von Carl Haenlein, Kestner-Gesellschaft Hannover 1989/1990 S. 55).

1956 verlegt Joan Miró seinen Lebensmittelpunkt nach Mallorca. Der Architekt Josep Lluís Sert, ein Freund Mirós, entwirft ihm dort das Atelier, von dem er immer geträumt hatte und welches ihm den Raum für seine bedeutenden monumentalen Arbeiten der 1960er und 19070er Jahre geben sollte. Das große Format hatte Miró immer interessiert, gibt es dem Maler doch die Gelegenheit zur freien Bewegung, zur weit ausladenden Geste. Jetzt, in fortgeschrittenem Alter konzentriert er seine Kräfte auf metaphysische Landschaften, einen Minimalismus, in dem sich dem Betrachter der Kosmos offenbart. In ihrer radikalen motivischen Entleerung stellen diese Werke Höhepunkte in Mirós künstlerischem Schaffen dar.

Kennzeichnend für Mirós Arbeiten um 1960 ist ein völlig neues graphische Element: "Die sehr vereinfachten, sensiblen Zeichen scheinen über trennende Leeren und über Flecken und Wolken hinweg, die sie einkreisen und ersticken, einander zu antworten. Diese Zeichen oder besser Vor-Zeichen, die sich jeder Bindung und Gliederung entziehen, bilden eine Art Lücken-Schrift, ähnlich vielleicht der Zwölftonmusik, die der Maler in den letzten Jahren häufig hörte", so Jacques Dupin. Für ihn ist es "kein Zufall, daß diese Zeichnung besonders auf drei Kartons mit dem Titel 'Einsamkeit' erscheint, denn die Empfindungen, die sie wecken, entsprechen dem Sinn des Wortes. Jedes dieser verstreuten, winzigen Vor-Zeichen ist in erster Linie ein Zeichen des Menschlichen, einsam und von den Elementen bedroht - doch als schriftliches Geständnis seiner Schwäche und Angst bezeugt es durch seinen klaren und geschmeidig festen Strich zugleich die Entschlossenheit, sich zu wehren und durchzuhalten." (Jacques Dupin, Joan Miró, Leben und Werk, Köln 1961).

Unter dem Titel „Solitude“ (Dupin 903/904/905) entstehen im April 1960 insgesamt drei Gemälde auf Karton je gleichen Formats. Zutiefst poetisch präsentiert sich unsere dritte Komposition der Reihe, leise, nicht jedoch ohne in tiefdunklem Rot sowie leuchtendem Gelb und Grün hell zu erklingen. Zwischen Erscheinen und Verschwinden bereitet sie den Weg zu Mirós großen monochromen Gemälden der folgenden Jahre - in breitem weißen Pinselstrich, zart mäandrierender Linie und wenigen farbigen Flecken kulminiert doch schon hier Mirós ganzes früheres Werk.

Joan Miró
Solitude III/III

Oil and charcoal on card. 75 x 105 cm. Framed. Signed 'miró' in black lower left. Signed, dated and titled 'MIRÓ 29/4/60 Solitude III/III' verso.

Dupin/Lelong-Mainaud Paintings, Vol. IV, 1011

Provenance
Pierre Matisse Gallery, New York (gallery label verso); Acquavella Galleries, New York; Galerie Michael Haas, Berlin; Private collection

Exhibitions
New York 1965 (Pierre Matisse Gallery) Cartones, cat. no. 5; New York 1972 (The Solomon R. Guggenheim Museum), Joan Miró: Magnetic Fields, cat. no. 38 with illus. p. 129; Berlin 2012 (Galerie Michael Haas), Joan Miró, without cat. no. with colour illus.

Literature
Jacques Dupin, Miró, Paris 1961, no. 905 with illus. p. 552; Margit Rowell, Joan Miró. Peinture = Poésie, Paris 1976, p. 102 with illus. p. 102; Barbara Reil/Roland Doschka, Miró Sternennächte, exhib. cat. Stadtmuseum Lindau 2013, pp. 70/71 with colour illus.

“The first morning, the last morning, the world awakes. Should I seek solitude, dark language, in order to better grasp this quivering, inconstant life? My mouth has words that I'd wish to be out there, in the heart of this innocent world, which speaks to me and sees me and listens to me and whose luminously clear metamorphoses Miró has always mirrored.” (From: Paul Eluard, Mirós Epiphanien (Naissance de Miró), 1937, cited in: exhib. cat. Joan Miró: Arbeiten auf Papier 1901-1977, ed. by Carl Haenlein, Kestner-Gesellschaft Hanover 1989/1990, p. 55).

In 1956 Joan Miró shifted the focal point of his life to Mallorca. There the architect Josep Lluís Sert, a friend of Miró, designed him the studio he had always dreamed of and which would provide him with space for his important monumental works of the 1960s and 1970s. Large formats had always interested Miró: after all, they provide the painter with the opportunity to move freely, to engage in broadly sweeping gestures. At that time, at his advanced age, he concentrated his strength on metaphysical landscapes, a minimalism in which the cosmos reveals itself to the viewer. Radically cleared of motifs, these works represent highlights in Miró's oeuvre.

An entirely new graphic element characterises Miró's works from around 1960: “The very simplified, sensitive symbols appear to respond to one another across all the voids that divide them and the stains and clouds that encircle and suffocate them. These symbols or - better yet, signals - elude all bonds and structures and form a kind of negative script, perhaps similar to the twelve-tone music the painter has listened to often in recent years”, writes Jacques Dupin. For him it was “no coincidence that this drawing appears in particular on three sheets of cardboard entitled 'Solitude', because the sensations they stir correspond to the meaning of this word. Every one of these scattered, tiny signals is primarily a symbol of the human, in solitude and threatened by the elements - however, as a written confession of our weakness and fear, the clarity and supple firmness of their brushstroke simultaneously testifies to our determination to resist and persevere.” (Jacques Dupin, Joan Miró, Leben und Werk, Cologne 1961).

In April 1960, under the title “Solitude” (Dupin 903/904/905), Miró created three paintings on cardboard in identical format. Our composition is the third from this series and presents itself as profoundly poetic - quiet, but nonetheless not failing to brightly resonate in an extremely dark red as well as luminous yellow and green. Between emergence and disappearance, it prepared Miró's path to the large monochrome paintings of the years that followed - indeed, Miró's entire earlier body of work already culminates here in the broad white brushstroke, delicately meandering line and the few patches of colour.
Joan Miró
Solitude III/III

Öl und Kohle auf Karton. 75 x 105 cm. Gerahmt. Unten links schwarz signiert 'miró'. Rückseitig schwarz signiert, datiert und betitelt 'MIRÓ 29/4/60 Solitude III/III'.

Dupin/Lelong-Mainaud Paintings, Vol. IV, 1011

Provenienz
Pierre Matisse Gallery, New York (rückseitig mit dem Galerie-Etikett); Acquavella Galleries, New York; Galerie Michael Haas, Berlin; Privatsammlung

Ausstellungen
New York 1965 (Pierre Matisse Gallery) Cartones, Kat. Nr. 5; New York 1972 (The Solomon R. Guggenheim Museum), Joan Miró: Magnetic Fields, Kat. Nr. 38 mit Abb. S. 129; Berlin 2012 (Galerie Michael Haas), Joan Miró, o. Kat. Nr. mit Farbabb.

Literatur
Jacques Dupin, Miró, Paris 1961, Nr. 905 mit Abb. S. 552; Margit Rowell, Joan Miró. Peinture = Poésie, Paris 1976, Abb. S. 102; Barbara Reil/Roland Doschka, Miró Sternennächte, Ausst. Kat. Stadtmuseum Lindau 2013, S. 70/71 mit Farbabb.

„Der erste Morgen, der letzte Morgen, die Welt erwacht. Soll ich die Einsamkeit suchen, die dunkle Sprache, um so das bebende, unbeständige Leben besser zu fassen? Worte hat mein Mund, die ich mir da draußen wünschte, im Herzen dieser unschuldigen Welt, die zu mir spricht und mich sieht und mir zuhört und deren leuchtend klare Metamorphosen Miró schon immer gespiegelt hat.“ (Aus: Paul Eluard, Mirós Epiphanien (Naissance de Miró), 1937, zit. nach: Ausst. Kat. Joan Miró. Arbeiten auf Papier 1901-1977, hrsg. von Carl Haenlein, Kestner-Gesellschaft Hannover 1989/1990 S. 55).

1956 verlegt Joan Miró seinen Lebensmittelpunkt nach Mallorca. Der Architekt Josep Lluís Sert, ein Freund Mirós, entwirft ihm dort das Atelier, von dem er immer geträumt hatte und welches ihm den Raum für seine bedeutenden monumentalen Arbeiten der 1960er und 19070er Jahre geben sollte. Das große Format hatte Miró immer interessiert, gibt es dem Maler doch die Gelegenheit zur freien Bewegung, zur weit ausladenden Geste. Jetzt, in fortgeschrittenem Alter konzentriert er seine Kräfte auf metaphysische Landschaften, einen Minimalismus, in dem sich dem Betrachter der Kosmos offenbart. In ihrer radikalen motivischen Entleerung stellen diese Werke Höhepunkte in Mirós künstlerischem Schaffen dar.

Kennzeichnend für Mirós Arbeiten um 1960 ist ein völlig neues graphische Element: "Die sehr vereinfachten, sensiblen Zeichen scheinen über trennende Leeren und über Flecken und Wolken hinweg, die sie einkreisen und ersticken, einander zu antworten. Diese Zeichen oder besser Vor-Zeichen, die sich jeder Bindung und Gliederung entziehen, bilden eine Art Lücken-Schrift, ähnlich vielleicht der Zwölftonmusik, die der Maler in den letzten Jahren häufig hörte", so Jacques Dupin. Für ihn ist es "kein Zufall, daß diese Zeichnung besonders auf drei Kartons mit dem Titel 'Einsamkeit' erscheint, denn die Empfindungen, die sie wecken, entsprechen dem Sinn des Wortes. Jedes dieser verstreuten, winzigen Vor-Zeichen ist in erster Linie ein Zeichen des Menschlichen, einsam und von den Elementen bedroht - doch als schriftliches Geständnis seiner Schwäche und Angst bezeugt es durch seinen klaren und geschmeidig festen Strich zugleich die Entschlossenheit, sich zu wehren und durchzuhalten." (Jacques Dupin, Joan Miró, Leben und Werk, Köln 1961).

Unter dem Titel „Solitude“ (Dupin 903/904/905) entstehen im April 1960 insgesamt drei Gemälde auf Karton je gleichen Formats. Zutiefst poetisch präsentiert sich unsere dritte Komposition der Reihe, leise, nicht jedoch ohne in tiefdunklem Rot sowie leuchtendem Gelb und Grün hell zu erklingen. Zwischen Erscheinen und Verschwinden bereitet sie den Weg zu Mirós großen monochromen Gemälden der folgenden Jahre - in breitem weißen Pinselstrich, zart mäandrierender Linie und wenigen farbigen Flecken kulminiert doch schon hier Mirós ganzes früheres Werk.

Joan Miró
Solitude III/III

Oil and charcoal on card. 75 x 105 cm. Framed. Signed 'miró' in black lower left. Signed, dated and titled 'MIRÓ 29/4/60 Solitude III/III' verso.

Dupin/Lelong-Mainaud Paintings, Vol. IV, 1011

Provenance
Pierre Matisse Gallery, New York (gallery label verso); Acquavella Galleries, New York; Galerie Michael Haas, Berlin; Private collection

Exhibitions
New York 1965 (Pierre Matisse Gallery) Cartones, cat. no. 5; New York 1972 (The Solomon R. Guggenheim Museum), Joan Miró: Magnetic Fields, cat. no. 38 with illus. p. 129; Berlin 2012 (Galerie Michael Haas), Joan Miró, without cat. no. with colour illus.

Literature
Jacques Dupin, Miró, Paris 1961, no. 905 with illus. p. 552; Margit Rowell, Joan Miró. Peinture = Poésie, Paris 1976, p. 102 with illus. p. 102; Barbara Reil/Roland Doschka, Miró Sternennächte, exhib. cat. Stadtmuseum Lindau 2013, pp. 70/71 with colour illus.

“The first morning, the last morning, the world awakes. Should I seek solitude, dark language, in order to better grasp this quivering, inconstant life? My mouth has words that I'd wish to be out there, in the heart of this innocent world, which speaks to me and sees me and listens to me and whose luminously clear metamorphoses Miró has always mirrored.” (From: Paul Eluard, Mirós Epiphanien (Naissance de Miró), 1937, cited in: exhib. cat. Joan Miró: Arbeiten auf Papier 1901-1977, ed. by Carl Haenlein, Kestner-Gesellschaft Hanover 1989/1990, p. 55).

In 1956 Joan Miró shifted the focal point of his life to Mallorca. There the architect Josep Lluís Sert, a friend of Miró, designed him the studio he had always dreamed of and which would provide him with space for his important monumental works of the 1960s and 1970s. Large formats had always interested Miró: after all, they provide the painter with the opportunity to move freely, to engage in broadly sweeping gestures. At that time, at his advanced age, he concentrated his strength on metaphysical landscapes, a minimalism in which the cosmos reveals itself to the viewer. Radically cleared of motifs, these works represent highlights in Miró's oeuvre.

An entirely new graphic element characterises Miró's works from around 1960: “The very simplified, sensitive symbols appear to respond to one another across all the voids that divide them and the stains and clouds that encircle and suffocate them. These symbols or - better yet, signals - elude all bonds and structures and form a kind of negative script, perhaps similar to the twelve-tone music the painter has listened to often in recent years”, writes Jacques Dupin. For him it was “no coincidence that this drawing appears in particular on three sheets of cardboard entitled 'Solitude', because the sensations they stir correspond to the meaning of this word. Every one of these scattered, tiny signals is primarily a symbol of the human, in solitude and threatened by the elements - however, as a written confession of our weakness and fear, the clarity and supple firmness of their brushstroke simultaneously testifies to our determination to resist and persevere.” (Jacques Dupin, Joan Miró, Leben und Werk, Cologne 1961).

In April 1960, under the title “Solitude” (Dupin 903/904/905), Miró created three paintings on cardboard in identical format. Our composition is the third from this series and presents itself as profoundly poetic - quiet, but nonetheless not failing to brightly resonate in an extremely dark red as well as luminous yellow and green. Between emergence and disappearance, it prepared Miró's path to the large monochrome paintings of the years that followed - indeed, Miró's entire earlier body of work already culminates here in the broad white brushstroke, delicately meandering line and the few patches of colour.

Modern Art

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