Miró's sculptures predominantly follow the principle of the material collage. Since the 1940s the versatile artist sculpted free shapes and integrated his 'objets trouvés' like tin cans, equipment, wire or pieces of wood. Already in the plaster impression and even more in the subsequent bronze cast, the boundary between real and fantastic elements become blurred in favour of a consistent impression that underlines its character as a self-contained work of art.
With his collages and assemblages, Miró, who advocated the 'assassination of painting', not only provocatively transcended the border between the genres, but also yielded a part of his artistic control to chance and invalidated the traditional concept of genius.
In his grotesque figures - composites of Man, animal and plant - he combined representational shapes with abstract ornamental parts and, behind the façade of the precious artistic material of bronze, resisted the classic bourgeois concept of ideal beauty.
Provenance available
