Horse, Pipe, and Red Flower by Miro in the Philade…
The Potato by Miro in the Metropolitan Museum of A…
The Potato by Miro in the Metropolitan Museum of A…
Constellation Toward the Rainbow by Miro in the Me…
Constellation Toward the Rainbow by Miro in the Me…
Constellation Toward the Rainbow by Miro in the Me…
Detail of the Bather by Miro in the Museum of Mode…
Bather by Miro in the Museum of Modern Art, August…
Detail of Horse, Pipe, and Red Flower by Miro in t…
Dutch Interior by Miro in the Metropolitan Museum…
The Potato by Miro in the Metropolitan Museum of A…
Women Birds & a Star by Miro in the Metropolitan M…
Vines and Olive Trees- Tarragonia by Joan Miro in…
Nude Holding a Flower by Joan Miro in the Metropol…
Personnage Gothique, Oiseau-Eclair by Miro in the…
Personnage Gothique, Oiseau-Eclair by Miro in the…
Hirondelle Amour by Joan Miro in the Museum of Mod…
Detail of Dutch Interior I by Miro in the Museum o…
Dutch Interior I by Miro in the Museum of Modern A…
Dutch Interior I by Miro in the Museum of Modern A…
See also...
Keywords
Authorizations, license
-
Visible by: Everyone -
All rights reserved
-
541 visits
Detail of Horse, Pipe, and Red Flower by Miro in the Philadelphia Museum of Art, August 2009
Horse, Pipe, and Red Flower
Joan Miró, Spanish, 1893 - 1983
Geography: Made in Montroig, Tarragona, Spain, Europe
Date: 1920
Medium: Oil on canvas
Dimensions: 32 1/2 x 29 1/2 inches (82.6 x 74.9 cm)
Copyright: © Artists Rights Society (ARS), New York / ADAGP, Paris
Curatorial Department: Modern Art
Object Location: Gallery 167, Modern and Contemporary Art, first floor
Accession Number: 1986-97-1
Credit Line: Gift of Mr. and Mrs. C. Earle Miller, 1986
Label:
Miró painted this work at his home in the Spanish village of Montroig shortly after his first visit to Paris. The complex configuration of forms adopts a Cubist collage technique inspired by the work of Pablo Picasso, whom he had met on this trip. The book on the table, Le Coq et l'arlequin (The Rooster and the Harlequin) by Jean Cocteau, featuring illustrations by Picasso, advertises this new friendship.
Additional information:
Publication- Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art
Horse, Pipe, and Red Flower belongs to a small number of still lifes that the Catalan artist Joan Miró painted while at home in the village of Montroig during the summer of 1920. That spring Miró had made his first trip to Paris, a four-month stay inspiring him with a confidence that bore fruit in his next paintings, the first true masterpieces of his long career. This joyful work captures a moment of profound transition for the twenty-seven-year-old artist. The exuberant color, clamorous patterning, and crowded composition are characteristic of his earlier paintings, while the toy horse and long clay pipe lend a Catalan flavor to the scene. But the complex configuration of the forms, the unconventional vantage point, and the background's resemblance to Cubist collage prove Miró's close attention to the avant-garde painting he had seen in Paris. He focused especially on Picasso, whom he had met during the spring of 1920. The book on the table advertises this association: it faithfully represents the small volume Le coq et l'arlequin by Jean Cocteau, illustrated with line drawings by Picasso. By audaciously incorporating Picasso's drawing in his own painting, Miró proudly announced his membership in the international avant-garde. Melissa Kerr, from Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art (2007), p. 178.
Provenance: With Galeries Dalmau, Barcelona, from the artist, by October 1920; with Pierre Matisse Gallery, New York, by January 1939; exchanged for another Miró with Peter and C. Earle Miller (Mr. and Mrs. C. Earle Miller), Downington, PA, 1944 [1]; gift to PMA, 1986. 1. For the dates see the exhibition catalogs "Pierre Matisse and His Artists," Pierpont Morgan Library, 2002, no. 3, p. 32, and "Joan Miró", Museum of Modern Art, 1993, no. 18, p. 369-370.
Text from: www.philamuseum.org/collections/permanent/83144.html?mulR=53578124|8
Joan Miró, Spanish, 1893 - 1983
Geography: Made in Montroig, Tarragona, Spain, Europe
Date: 1920
Medium: Oil on canvas
Dimensions: 32 1/2 x 29 1/2 inches (82.6 x 74.9 cm)
Copyright: © Artists Rights Society (ARS), New York / ADAGP, Paris
Curatorial Department: Modern Art
Object Location: Gallery 167, Modern and Contemporary Art, first floor
Accession Number: 1986-97-1
Credit Line: Gift of Mr. and Mrs. C. Earle Miller, 1986
Label:
Miró painted this work at his home in the Spanish village of Montroig shortly after his first visit to Paris. The complex configuration of forms adopts a Cubist collage technique inspired by the work of Pablo Picasso, whom he had met on this trip. The book on the table, Le Coq et l'arlequin (The Rooster and the Harlequin) by Jean Cocteau, featuring illustrations by Picasso, advertises this new friendship.
Additional information:
Publication- Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art
Horse, Pipe, and Red Flower belongs to a small number of still lifes that the Catalan artist Joan Miró painted while at home in the village of Montroig during the summer of 1920. That spring Miró had made his first trip to Paris, a four-month stay inspiring him with a confidence that bore fruit in his next paintings, the first true masterpieces of his long career. This joyful work captures a moment of profound transition for the twenty-seven-year-old artist. The exuberant color, clamorous patterning, and crowded composition are characteristic of his earlier paintings, while the toy horse and long clay pipe lend a Catalan flavor to the scene. But the complex configuration of the forms, the unconventional vantage point, and the background's resemblance to Cubist collage prove Miró's close attention to the avant-garde painting he had seen in Paris. He focused especially on Picasso, whom he had met during the spring of 1920. The book on the table advertises this association: it faithfully represents the small volume Le coq et l'arlequin by Jean Cocteau, illustrated with line drawings by Picasso. By audaciously incorporating Picasso's drawing in his own painting, Miró proudly announced his membership in the international avant-garde. Melissa Kerr, from Masterpieces from the Philadelphia Museum of Art: Impressionism and Modern Art (2007), p. 178.
Provenance: With Galeries Dalmau, Barcelona, from the artist, by October 1920; with Pierre Matisse Gallery, New York, by January 1939; exchanged for another Miró with Peter and C. Earle Miller (Mr. and Mrs. C. Earle Miller), Downington, PA, 1944 [1]; gift to PMA, 1986. 1. For the dates see the exhibition catalogs "Pierre Matisse and His Artists," Pierpont Morgan Library, 2002, no. 3, p. 32, and "Joan Miró", Museum of Modern Art, 1993, no. 18, p. 369-370.
Text from: www.philamuseum.org/collections/permanent/83144.html?mulR=53578124|8
- Keyboard shortcuts:
Jump to top
RSS feed- Latest comments - Subscribe to the comment feeds of this photo
- ipernity © 2007-2024
- Help & Contact
|
Club news
|
About ipernity
|
History |
ipernity Club & Prices |
Guide of good conduct
Donate | Group guidelines | Privacy policy | Terms of use | Statutes | In memoria -
Facebook
Twitter
Sign-in to write a comment.