29 Jan '15, 2pm

"As I paint the picture begins to assert itself, or suggest itself under my brush.” - #Miró. http…

In this marvellous encounter of humankind with nature and the cosmos, two immense avian creatures – appearing to share a single head – astonish a trio of female passers-by, one of whom is a tall beanpole of a girl, as they travel along the rippling contours of a landscape setting, under the horns of a blue crescent moon. The bird is typically the magical catalytic agent in a Miró picture, serving as a celestial emissary, the oracular bearer of a message from beyond, the active creator spirit, and as such – like the bird Loplop in the work of Max Ernst – it is the alter-ego presence of the artist himself. The story of Miró’s stylistic evolution during the late 1940s and the beginning of the 1950s takes place within the bookends of two murals, landmark works which proclaimed his growing stature on the post-war international art scene. The first is the panoramic Mural Paintin...

Full article: http://www.christies.com/lotfinder/paintings/joan-miro-pa...

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