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‘Oiseaux en fête pour le lever du jour’ painted on 21 March 1968, by Joan Miró.

Against a blazing yellow ground, bold black calligraphic lines spiral and leap around a monumental green and red form, part eye, part sun, part something altogether invented. The birds of the title are not so much depicted as implied: creatures of pure gesture, animated by the thick, confident brushwork that Miró had developed after his encounter with Abstract Expressionism in New York, in 1947.

Seeing the work of Jackson Pollock and his contemporaries had been, in Miró’s own words, like ‘a blow to the solar plexus’, a liberation that freed him to paint with even greater physical immediacy. His subsequent trip to Japan deepened this further, and the flowing calligraphic lines of ‘Oiseaux en fête pour le lever du jour’ carry the traces of both influences. Yet, the painting remains rooted in Miró’s oldest obsessions: birds, women, and stars, that had been present in his work since his celebrated Constellations series of 1940. by @nahmadprojects

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8 days ago

Téte à Tête: Joan Miró and Pablo Picasso closes tomorrow (Friday 17th July) at 2 Cork Street.

The exhibition presents four works by each artist, celebrating the pairs joint refusal to follow the rules of art history, and shared belief that painting had no limits.

Photography: @stephenwhiteandco by @nahmadprojects

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9 days ago

Painted in June 1933, ‘Peinture’ exemplifies the stylistic qualities that distinguish Joan Miró not only as a master Surrealist, but a leading figure of the European avant-garde in the inter-war years. Following a period of the artist’s self-proclaimed ‘assassination of painting’, during which time he turned his energy to other modes of expression, the year 1933 signified his return to the medium of oil painting on a large scale, as well as an intensely creative moment during which his previous explorations of collage brought a new quality to his painting.

In January of that year, Miró embarked on a series of works executed with a novel sense of plasticity and in the six months that followed he created a group of large-scale canvases that have come to occupy a vital position in the Modernist canon. Infused with a personal language that is at once abstract in its forms and legible to the viewer, the works in this series took as their inspiration a group of collages that Miró executed in January and February 1933, using illustrations from newspapers, magazines and posters.

Tête à Tête: Joan Miró & Pablo Picasso, is on display until this Friday 17th July at 2 Cork Street.

Photography: @stephenwhiteandco by @nahmadprojects

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10 days ago

On view for one more week at 2 Cork Street, Tête à Tête: Joan Miró & Pablo Picasso.

The exhibition presents four works by each artist, celebrating the pairs joint refusal to follow the rules of art history, and shared belief that painting had no limits.

It all started with a pastry. In 1920, the young Joan Miró (1893-1983) arrived in Paris carrying an ensaimada from Pablo Picasso’s (1881-1973) mother in Barcelona. The Catalan capital meant everything to both of them. Miró was born there, Picasso spent his formative years there (1895-1904), and in the end, both men gave large portions of their life’s work back to the city. It was an unlikely introduction to one of the great friendships in modern art, one that would last more than fifty years.

On view at 2 Cork Street, Monday - Friday 10AM-6PM until Friday 17th July. by @nahmadprojects

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15 days ago

When Picasso first set eyes on Manet’s Le Déjeuner sur l’herbe, he knew immediately it would give him trouble. The painting had scandalised Paris at the Salon des Refusés in 1863 - a naked woman, entirely unembarrassed, picnicking on a riverbank with two fully clothed men - and it had never quite lost its charge. For Picasso, it was the ultimate provocation: a work that was itself an act of creative theft, Manet having lifted the composition from Titian and Raphael, and then been punished by the critics for his audacity. It was only natural that he would place himself within that lineage directly.

Between 1959 and 1962 he returned to the subject obsessively, producing paintings, drawings, sculptures, and linocuts. More variations than he had ever made after a single work. This canvas, painted at the Château de Vauvenargues in 1960, keeps faith with Manet’s essential cast: the nude, the clothed companions, the lush green setting. But Picasso strips away the realism and takes the figures somewhere older and more primal, the bodies broken down into flat planes and bold outlines, the grass reduced to a field of raw, gestural green. It is less a copy than a conversation. As Marie-Laure Bernadac writes “Manet’s concern was to relate a painting to a painting: Picasso’s was to relate a painter to a painter.” by @nahmadprojects

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18 days ago

Our summer exhibition brings together two giants of modern art: Joan Miró and Pablo Picasso. Their friendship began in 1920, when a young Miró arrived in Paris carrying a pastry for Picasso from his mother in Barcelona, which marked the start of a bond between two Catalans-at-heart that would last more than fifty years. They could hardly have been more different: Picasso was restless and larger than life, Miró was quiet and precise. Yet each brought out something essential in the other.

Tête à tête: Joan Miró & Pablo Picasso, is on display until 17th July at 2 Cork Street, W1S 3LB. by @nahmadprojects

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a month ago

Helly Nahmad Gallery | Nahmad Projects presents ‘Tête à tête: Joan Miró & Pablo Picasso’, on view until 17 July.

It all started with a pastry. In 1920, the young Joan Miró (1893-1983) arrived in Paris carrying an ensaimada from Pablo Picasso’s (1881-1973) mother in Barcelona. The Catalan capital meant everything to both of them. Miró was born there, Picasso spent his formative years there (1895-1904), and in the end, both men gave large portions of their life’s work back to the city. It was an unlikely introduction to one of the great friendships in modern art, one that would last more than fifty years.

Tête à tête presents four works by each artist, celebrating the pairs joint refusal to follow the rules of art history, and shared belief that painting had no limits.

📍Nahmad Projects 2 Cork Street, London W1S 3LB

Photography: @stephenwhiteandco taken in Cork Street by @nahmadprojects

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a month ago

‘Le Passage de l’oiseau-migrateur’, painted by Miró, on 29 January 1968, a vast field of layered blue brushed with the patient, meditative attention of a fresco, is interrupted by a single white form and a line of purest black. Nothing else. It is an act of extraordinary restraint, and the more one looks, the more the painting opens. The blue is not flat but alive, shifting in tone across the whole surface. The lone form floats in it like a feather, or a wing, or a seed, never entirely naming itself.

Scholars have linked the great blue paintings Miró made at the beginning of the decade to the dream paintings of the mid-1920s, where colour first became the primary subject. Owned for many years by Hubert de Givenchy and Philippe Venet, and displayed proudly in their Paris apartment, the painting carries within its quietness an almost architectural authority.

Currently on display until 17th July as part of our exhibition Tête á Tête: Joan Miró & Pablo Picasso.

Photography: @stephenwhiteandco by @nahmadprojects

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2 months ago

The gallery is pleased to be participating in London Gallery Weekend and will be open until 6PM today.

Pictured here is ‘Vauvenargues. Salle à manger (I)’, painted on 19 March 1959, which is currently on display in the gallery. This remarkable work from Picasso’s late career is dark, heraldic, and quietly comic. Part of a group of seven works, it was the first series painted at his newly acquired Château de Vauvenargues. The canvas shows his Dalmatian, Perro, standing in the dining room, with his flat-spotted silhouette set against an elaborately rendered baroque sideboard in a palette of deep green, carmine, and black. The contrast between the ornate furniture and the graphic simplicity of the dog is both funny and deeply strange. Picasso, here, mocks the grandeur of his new home as much as he celebrates it.

Photography: @stephenwhiteandco by @nahmadprojects

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2 months ago

We are pleased to be participating in this years London Gallery Weekend. Please join us for a Private View of Tête à Tête: Joan Miró & Pablo Picasso, this evening from 6-8PM.

LGW hours:
Friday: 11AM - 6PM
Saturday: 11AM - 6PM
Sunday: 12PM - 5PM

Photography: @stephenwhiteandco by @nahmadprojects

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2 months ago

‘Homme et femme nus’ (1965), painted in Mougins, belongs to Picasso’s longest and most sustained dialogue with another painting: Manet’s ‘Le Déjeuner sur l’herbe’ of 1863. Picasso had first been drawn to Manet’s scandalous picture - a naked woman picnicking on a riverbank with two fully clothed men - in 1929. He wrote “when I see the Déjeuner sur l’herbe, I tell myself, trouble for later on”. It was between 1959 and 1962 that it finally consumed him, generating twenty-seven oil on canvas paintings, one hundred and fifty drawings, three linoleum cuts, eighteen cardboard maquettes for sculpture, five concrete sculptures and several ceramic plates. He never entirely let it go, and periodically returned to it.

This work, painted in April 1965, is part of a series of eight panoramic canvases made in quick succession, each reworking the same cast of figures. Here, the man and woman are constructed almost in negative - their bodies left in reserve on the white canvas, defined only by the broad, dark brushwork of the surrounding green and a few spare marks: breasts, eyes, a beard, pairs of buttocks rendered with quiet irony. The green itself is Manet’s green, the lush outdoor setting of that infamous Paris picnic transposed into Picasso’s own direct, physical language. There is nothing polite about the painting. It is raw, funny, and completely assured - made by a man in his mid-eighties, still painting from desire, still in argument with the history of art.

Photography: @stephenwhiteandco by @nahmadprojects

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2 months ago

Open now at 2 Cork Street - Tête a Tête: Joan Miró & Pablo Picasso.

Both Miró and Picasso kept working until the end of their lives, into their eighties and nineties, with an energy that younger artists might envy. Both refused to settle. Both pushed - through different means, from different temperaments - against whatever painting was supposed to look like. That shared restlessness is perhaps what Picasso meant when he told Miró that their work had things in common, that they inhabited the same world. The works currently on view in the gallery make the case better than any words can.

Pictured here is Joan Miró’s ‘Peinture’ from 1953 alongside Pablo Picasso’s ‘Femme au chapeau’ from 1971. by @nahmadprojects

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2 months ago