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Joan Miró Foundation

Pintura (L’ampolla de vi), Joan Miró, 1924

<p><em>Pintura (L&rsquo;ampolla de vi)</em>, Joan Mir&oacute;, 1924, oil on canvas, 73.5 &times; 65.5 cm, Joan Mir&oacute;, Barcelona. Contribution from a private collection</p>

Pintura (L’ampolla de vi), Joan Miró, 1924, oil on canvas, 73.5 × 65.5 cm, Joan Miró, Barcelona. Contribution from a private collection

In 1921, Joan Miró moved to Paris. His studio, located at 45 Rue Blomet, is adjacent to Andre Masson’s, where avant-garde artists and writers gather to discuss art and literature.

These meetings are crucial for Miró’s painting, which gradually moves away from realism to veer towards a wonderful, fantastical world.

Pintura (L’ampolla de vi) shows a conjunction of disparate elements: a bottle of wine with a volcano, a snake with a moustache and a bee. The logic that links them is poetic order. However, the associative freedom that justifies the harmonious coexistence of all the elements evinces the crisis in painting and the triumph of ambiguity: angular shapes that divide the canvas suggest both a table and an undefinable landscape.

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