+ 1 (707) 877-4321
+ 33 977-198-888
English
Français
Deutsch
Italiano
Español
Русский
中国
Português
日本

Seated Woman II, 1938 by Joan Miro (1893-1937, Spain)

FREE Shipping. FREE Returns All the time. See details.

Framed Print Fine Art Seated Woman Ii - 1938 By Joan Miro , Framed Print Fine Art Seated Woman Ii - 1938 By Joan Miro
Seated Woman II, 1938 by Joan Miro (1893-1937, Spain)
Framed Print Fine Art Seated Woman Ii - 1938 By Joan Miro , Framed Print Fine Art Seated Woman Ii - 1938 By Joan Miro

"Seated Woman II"

Joan Miro - 162 x 130 cm - 1938 - (The Solomon R. Guggenheim Foundation (Venice, Italy))

The expressionistic Seated Woman II can be seen as a final manifestation of Joan Miró’s peintures sauvages, works characterized by violence of execution and imagery. It was painted at a time when Miró, like Pablo Picasso and Julio González, was responding acutely to the events of the Spanish Civil War.
The human figure has been transmogrified here into a grotesque and bestial creature. However, the aggressiveness of imagery and formal elements coexists with fanciful details and cosmic implications. Though the open, saw-toothed mouth imparts a sense of the woman’s voraciousness or anguish, her bottle-breast implies her generative force. Her expansive torso constitutes an impenetrable ground, its horizon line described by her squared shoulders, out of which grow the vegetative stems of arms and neck. The bird and fish forms floating through the atmosphere become insignias for air and water, while the moon, star, and planet emblems on the woman’s collar broaden the associations to encompass the astral plane. The remaining abstract shapes seem to course slowly in mysterious orbits, passing through and beyond one another, changing color where they intersect. A cohesive universe is created despite the dichotomies of light and dark, nurture and destruction, life and nonexistence. Integration is provided by the repetition of shapes, such as the leaf and oval, which suggests analogies: the woman’s pendant becomes a moon or vagina, her hair resembles lines of sight, like those of the fish, or rays of light, and her teeth are equated with the decorative motifs or mountains in the miniature landscape of her collar.
This work postdates by about two months the more generalized Seated Woman I (Collection The Museum of Modern Art, New York).



This artwork may be protected by copyright. It is posted on the site in accordance with fair use principles

Reproductions or prints are not available for this artwork
We use here Copyright term based on authors' deaths according to Copyright Law, (70 years). 
Artworks protected by copyright are supposed to be used only for contemplation. Images of that type of artworks are prohibited for copying, printing, or any kind of reproducing and communicating to public since these activities may be considered copyright infringement. More



Loading Joan Miro biography....









 



 



WahooArt.com - Joan Miro
Arts & Entertainment > Hobbies & Creative Arts > Artwork
A-8XYBXG----EN-
Seated Woman II, 1938 by Joan Miro (1893-1937, Spain)
/Art.nsf/O/8XYBXG/$File/Joan-Miro-Seated-Woman-II.JPG
The expressionistic Seated Woman II can be seen as a final manifestation of Joan Miró’s peintures sauvages, works characterized by violence of execution and imagery. It was painted at a time when Miró, like Pablo Picasso and Julio González, was responding acutely to the events of the Spanish Civil War. The human figure has been transmogrified here into a grotesque and bestial creature. However, the aggressiveness of imagery and formal elements coexists with fanciful details and cosmic implications. Though the open, saw-toothed mouth imparts a sense of the woman’s voraciousness or anguish, her bottle-breast implies her generative force. Her expansive torso constitutes an impenetrable ground, its horizon line described by her squared shoulders, out of which grow the vegetative stems of arms and neck. The bird and fish forms floating through the atmosphere become insignias for air and water, while the moon, star, and planet emblems on the woman’s collar broaden the associations to encompass the astral plane. The remaining abstract shapes seem to course slowly in mysterious orbits, passing through and beyond one another, changing color where they intersect. A cohesive universe is created despite the dichotomies of light and dark, nurture and destruction, life and nonexistence. Integration is provided by the repetition of shapes, such as the leaf and oval, which suggests analogies: the woman’s pendant becomes a moon or vagina, her hair resembles lines of sight, like those of the fish, or rays of light, and her teeth are equated with the decorative motifs or mountains in the miniature landscape of her collar. This work postdates by about two months the more generalized Seated Woman I (Collection The Museum of Modern Art, New York).
Joan Miro
-- -- -- -- -- -