拍品专文
In 1942 Miró left the seclusion of Palma, Mallorca, where he had already completed all but three of the Constellations, and moved to Barcelona. He took an apartment in the hills on the northern side of the city, but continued to work in his studio at Passagte del Credit, where he was born and his mother still lived. That summer he finished the final Constellations at his summer home in Mont-Roig. It was not until 1944 that Miró resumed painting in oils; nevertheless, in his works on paper during this period he continued to improvise on the richly inventive imagery in the Constellations.
In 1942 and 1943 Miró produced a great many works, all on paper. They are explorations undertaken with no preconceived idea--effervescent creations in which the artist perfected a vast repertory of forms, signs and formulas, bringing into play all the materials and instruments compatible with paper. These works permit us to follow the alchemist at work, for errors and oversights are found side by side with the most unexpected triumphs and happy spontaneous discoveries. The object of all these explorations is to determine the relationship between drawing and the materials, the relationship between line and space. The artist was not so much interested in expressing something with appropriate technique, as in making the material express itself in its own way. Successively, on the same sheet, black pencil and India ink, watercolor and pastel, gouache and thinned oil paint, colored crayons, and, occasionally, even materials as unexpected as blackberry jam are employed, and their contrasts and similarities exploited to the full, and not infrequently exploited beyond their capacities. The artist's sole concern was life--"life in all its visceral freshness," in the words of Fabre as René Char adopted them--living pulse and movement of life. (J. Dupin, Miró, Barcelona, 1993, pp. 259-260)
In 1942 and 1943 Miró produced a great many works, all on paper. They are explorations undertaken with no preconceived idea--effervescent creations in which the artist perfected a vast repertory of forms, signs and formulas, bringing into play all the materials and instruments compatible with paper. These works permit us to follow the alchemist at work, for errors and oversights are found side by side with the most unexpected triumphs and happy spontaneous discoveries. The object of all these explorations is to determine the relationship between drawing and the materials, the relationship between line and space. The artist was not so much interested in expressing something with appropriate technique, as in making the material express itself in its own way. Successively, on the same sheet, black pencil and India ink, watercolor and pastel, gouache and thinned oil paint, colored crayons, and, occasionally, even materials as unexpected as blackberry jam are employed, and their contrasts and similarities exploited to the full, and not infrequently exploited beyond their capacities. The artist's sole concern was life--"life in all its visceral freshness," in the words of Fabre as René Char adopted them--living pulse and movement of life. (J. Dupin, Miró, Barcelona, 1993, pp. 259-260)