Joan Miró. The Birth of the World. Montroig, late summer-fall 1925

Joan Miró The Birth of the World Montroig, late summer-fall 1925

  • The Museum of Modern Art, Floor 5, Collection Galleries

Here Miró applied paint to an unevenly primed canvas in an unorthodox manner—pouring, brushing, and flinging—so that the paint soaked into the canvas in some places while resting on the surface in others. On top of this relatively uncontrolled application of paint, he added schematic lines and seemingly familiar shapes--a bird or kite, shooting star, balloon, and figure with white head--planned in preparatory studies. Miró once said that The Birth of the World describes "a sort of genesis," an amorphous beginning out of which life may take form.

Gallery label from 2015.

According to the first Surrealist manifesto of 1924, "the real functioning of the mind" could be expressed by a "pure psychic automatism," "the absence of any control exercised by reason." Miró was influenced by Surrealist ideas, and said, "Rather than setting out to paint something, I begin painting and as I paint, the picture begins to assert itself. . . . The first stage is free, unconscious." But, he added, "The second stage is carefully calculated." The Birth of the World reflects just this combination of chance and plan. Miró primed the canvas unevenly, so that paint would here sit on the surface, there soak into it. His methods of applying paint allowed varying degrees of control—pouring, brushing, flinging, spreading with a rag. The biomorphic and geometric elements, meanwhile, he drew deliberately, working them out in a preparatory drawing. Miró's works in this vein suggest something both familiar and unidentifiable, yet even at his most ethereal, Miró never loses touch with the real world: we see a bird, or a kite; a shooting star, a balloon on a string, or a spermatozoa; a character with a white head. The Birth of the World is the first of many Surrealist works that deal metaphorically with artistic creation through an image of the creation of a universe. In Miró's words, it describes "a sort of genesis."

Publication excerpt from The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999.
Medium
Oil on canvas
Dimensions
8' 2 3/4" x 6' 6 3/4" (250.8 x 200 cm)
Credit
Acquired through an anonymous fund, the Mr. and Mrs. Joseph Slifka and Armand G. Erpf Funds, and by gift of the artist
Object number
262.1972
Copyright
© 2018 Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris
Department
Painting and Sculpture

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This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.

The artist
René Gaffé (1887-1968), Brussels and Cagnes-sur-Mer. Acquired from the artist c. 1926 - 1968
Jane Gaffé (Jane Labie, Mrs René Gaffé), Cagnes-sur-Mer. Inherited from her husband, November 1968 - 1972
The Museum of Modern Art, New York. Purchased from Mrs. René Gaffé, Cagnes-sur-Mer, October 1972

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