Joan Miró, ‘Le Pot de fleurs et le citron’, 1916, MK Fine Art

Barcelona, Galería Dalmau, 1918, no. 10.
Humlebaek, Louisiana Museum, 1998, no. 1 (illustrated in color, p. 36).
New York, The Elkon Gallery, Inc., Twentieth Century Masters, Paintings Drawings and Sculpture, May-June 2000, no. 1 (illustrated in color).

J. Dupin, Miró, Paris, 1993, p. 42, no. 41 (illustrated in color, p. 43).
J. Dupin and A. Lelong-Mainaud, Joan Miró, Catalogue raisonné, Paintings, Paris, 1999, vol. I, p. 27, no. 19 (illustrated in color).

Private Collection, New York
Sale; Christie's New York, May 5, 2005, Lot 327, Impressionist and Modern Art Day Sale
MK Fine Art, Inc., New York (purchased at the above sale)
Private Collection, Barcelona

About Joan Miró

Joan Miró rejected the constraints of traditional painting, creating works “conceived with fire in the soul but executed with clinical coolness,” as he once said. Widely considered one of the leading Surrealists, though never officially part of the group, Miró pioneered a wandering linear style of Automatism—a method of “random” drawing that attempted to express the inner workings of the human psyche. Miró used color and form in a symbolic rather than literal manner, his intricate compositions combining abstract elements with recurring motifs like birds, eyes, and the moon. “I try to apply colors like words that shape poems, like notes that shape music,” he said. While he prized artistic freedom, Miró revered art history, basing a series of works on the Dutch Baroque interiors of Hendrick Sorgh and Jan Steen. In turn, Miró has inspired many artists—significantly Arshile Gorky, whose bold linear abstractions proved a foundational influence on Abstract Expressionism.

Spanish, 1893-1983, Barcelona, Spain, based in Paris and Catalonia, Spain