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In Tête d’homme, Miró depersonalises the human head, reducing it to a series of overlapping, interweaving geometric shapes that reflect no more than the basic structure of the cranium. Exuding a powerful inner life, the repeated rectilinear and rounded segments knit together like a mosaic, the borders between each element sharply defined so that they retain a clear independence from one another. The composition’s highly distilled, purified style appears in complete opposition to the animated, biomorphic forms of the oneiric paintings which had previously dominated Miró’s oeuvre. Unlike the free-flowing, diaphanous, spontaneous shapes that populated these canvases, Tête d’homme and other works dating from the opening months of 1931 adopt a more sculptural approach to form, imbuing their subjects with a greater sense of weight and mass. Discussing these paintings, Jacques Dupin has written: ‘In short, his purpose became that of disciplining expression by opposing to lyricism the fruitful resistance of rigorous structures’ (J. Dupin, Miró, New York, 1993, p. 161).

However, echoes of the dream paintings remain. For example, in the present composition the ‘tête’ of the title appears to float against a deep blue abyss, suspended in space by an enigmatic, strange gravity, which may be seen as a direct continuation of the similarly coloured voids that lay at the heart of the dream series. However, here Miró utilises a much richer, more saturated hue to create a sonorous effect that enhances the colours within the central configuration, and grants them a greater sense of solidity and presence in the composition.

Tête D'homme

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Rolled • - 12x17 inches

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Tête D'homme Art Print
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Tête D'homme Art Print
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Tête D'homme Canvas Print
Rolled • 8x12 inches

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Tête D'homme Canvas Print
Rolled • 12x18 inches

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Tête D'homme Canvas Print
Rolled • 16x24 inches

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Tête D'homme Canvas Print
Rolled • 20x30 inches

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Tête D'homme Canvas Print
Wrapped • 8x12 inches

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Tête D'homme Canvas Print
Wrapped • 12x18 inches

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Tête D'homme Canvas Print
Wrapped • 16x24 inches

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Tête D'homme Canvas Print
Wrapped • 20x30 inches

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Tête D'homme Canvas Framed Print
Framed • 8x12 inches

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Tête D'homme Canvas Framed Print
Framed • 12x18 inches

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Tête D'homme Canvas Framed Print
Framed • 16x24 inches

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Tête D'homme Canvas Framed Print
Framed • 20x30 inches

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Tête D'homme Framed Print
Framed With Mat • 8x12 inches

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Tête D'homme Framed Print
Framed With Mat • 12x18 inches

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Medium Size

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Tête D'homme Framed Print
Framed With Mat • 16x24 inches

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Tête D'homme Framed Print
Framed With Mat • 20x30 inches

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Tête D'homme Poster
Rolled • 24x30 inches

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Tête D'homme Poster
Framed • 24x30 inches

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Tête D'homme Large Canvas Print
Rolled • 24x36 inches

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Tête D'homme Large Canvas Print
Wrapped • 24x36 inches

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X-Large Size

Tête D'homme Large Framed Print
Framed With Mat • 24x36 inches

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In Tête d’homme, Miró depersonalises the human head, reducing it to a series of overlapping, interweaving geometric shapes that reflect no more than the basic structure of the cranium. Exuding a powerful inner life, the repeated rectilinear and rounded segments knit together like a mosaic, the borders between each element sharply defined so that they retain a clear independence from one another. The composition’s highly distilled, purified style appears in complete opposition to the animated, biomorphic forms of the oneiric paintings which had previously dominated Miró’s oeuvre. Unlike the free-flowing, diaphanous, spontaneous shapes that populated these canvases, Tête d’homme and other works dating from the opening months of 1931 adopt a more sculptural approach to form, imbuing their subjects with a greater sense of weight and mass. Discussing these paintings, Jacques Dupin has written: ‘In short, his purpose became that of disciplining expression by opposing to lyricism the fruitful resistance of rigorous structures’ (J. Dupin, Miró, New York, 1993, p. 161). However, echoes of the dream paintings remain. For example, in the present composition the ‘tête’ of the title appears to float against a deep blue abyss, suspended in space by an enigmatic, strange gravity, which may be seen as a direct continuation of the similarly coloured voids that lay at the heart of the dream series. However, here Miró utilises a much richer, more saturated hue to create a sonorous effect that enhances the colours within the central configuration, and grants them a greater sense of solidity and presence in the composition.

Joan Miró was a Spanish painter, sculptor, and ceramicist born in Barcelona. A museum dedicated to his work, the Fundació Joan Miró, was established in his native city of Barcelona in 1975.Earning international acclaim, his work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride.

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