The half-open sky gives us hope

Author
Joan Miró
Title

Le ciel entrebâillé nous rend l'espoir

The half-open sky gives us hope

Date
19 July 1954
Medium
Oil on canvas
Sizes
130 x 195 cm
Signature

[l.r.] Miró.

Credit line
Fundació Joan Miró, Barcelona. On loan from the Gallery K. AG
Provenance
Pierre Matisse Gallery, New York
Acquavella Galleries, New York
Register Number
D 15
Bibliography
  • Dupin, Jacques. Miró. Paris: Flammarion, 1961; p. 393, 394; ill. n. 851, p. 424; cat. n. 851, p. 548
  • Joan Miró. London: Tate Gallery, 27 August-11 October 1964 ; Zürich: Kunsthaus Zürich, 31 October-6 December 1964; cat. n. 201, p. 45; pl. n. 38a, p. [92]
  • Penrose, Roland. Miró. London: Thames & Hudson, 1970; ill. n. 86, p. 121; p. 122; p. 212-213
  • Joan Miró: The Developement of a sign language. Sidra Stich. St. Louis, Missouri: Washington University Gallery of Art, 19 March-27 April 1980; fig. n. 53, p.57; p. 57, 58
  • Miró in America. Houston: The Museum of Fine Arts, 21 April-27 June 1982; ill. n. 29, p. 97 (col.)
  • Miró's people: Joan Miró: paintings and graphics of the human figure, 1920-1980. Edinburgh: Scottish National Gallery of Modern Art, 12 August-3 October 1982; ill. p. 28 (col.); cat. n. 31, p. 36
  • Joan Miró Centennial Exhibition: The Pierre Matisse Collection. Yokohama: Yokohama Museum of Art, 11 January-25 March 1992; ill. n. 73, p. 110 (col.)
  • Dupin, Jacques. Miró. Barcelona: Polígrafa, 1993; p. 300
  • Gimferrer, Pere. Les arrels de Miró. Barcelona: Polígrafa, 1993; n. 848, p. 381 (b/n)
  • Joan Miró: Equilibri a l'espai: Obres procedents de la col·lecció Kazumasa Katsuta. Barcelona: Fundació Joan Miró, 18 September-2 November 1997; p. 20; p. 30, ill. n. 4, p. 33 (col.)
  • Dupin, Jacques. Miró Firebird. Paris: Galerie Lelong, 1998; p. 83 (col.)
  • L'univers de Joan Miró. Aosta: Musée Archéologique Régional d'Aosta, 4 December 1999-25 September 2000; fig. p. 24
  • Universo Miró. Catanzaro: Complesso Monumentale del San Giovanni, 2 December 2000-25 February 2001; fig. p. 21
  • Dupin, Jacques ; Lelong-Mainaud, Ariane. Joan Miró: Catalogue raisonné. Paintings: Vol. III 1942-1955. Paris: Daniel Lelong; Palma de Mallorca: Successió Miró, 2001; ill. n. 967, p. 233 (col.); p. 256
  • Malet, Rosa Maria. Joan Miró: Apunts d'una col·lecció: Obres de la Gallery K. AG. Barcelona: Fundació Joan Miró; Caroggio, 2003; p. 74-75; ill. p. 77 (col.); p. 124, 144
  • Joan Miró. Seville: Sala San Hermenegildo, 3-29 May 2005 ; Córdoba: Caja Sur. Sala de Exposiciones, 7 June-10 July 2005; p. 43
  • Pou, Anna ; Romaguera, Mariona. Miró. Barcelona: Ciro, 2008. (Grans genis de l'Art a Catalunya); p. 104; ill. p. 105 (col.), 141
  • Malet, Rosa Maria. Joan Miró: Obres de la col·lecció Gallery K. AG a la Fundació Joan Miró. Barcelona: Fundació Joan Miró, 2011; p. 58; ill. p. 61 (col.)
Exhibitions
  • Joan Miró. London: Tate Gallery, 27 August-11 October 1964 ; Zürich: Kunsthaus Zürich, 31 October-6 December 1964
  • Joan Miró: The Developement of a sign language. Sidra Stich. St. Louis, Missouri: Washington University Gallery of Art, 19 March-27 April 1980
  • Miró in America. Houston: The Museum of Fine Arts, 21 April-27 June 1982
  • Miró's people: Joan Miró: paintings and graphics of the human figure, 1920-1980. Edinburgh: Scottish National Gallery of Modern Art, 12 August-3 October 1982
  • Joan Miró Centennial Exhibition: The Pierre Matisse Collection. Yokohama: Yokohama Museum of Art, 11 January-25 March 1992
  • Joan Miró: Equilibri a l'espai: Obres procedents de la col·lecció Kazumasa Katsuta. Barcelona: Fundació Joan Miró, 18 September-2 November 1997
  • L'univers de Joan Miró. Aosta: Musée Archéologique Régional d'Aosta, 4 December 1999-25 September 2000
  • Universo Miró. Catanzaro: Complesso Monumentale del San Giovanni, 2 December 2000-25 February 2001
  • Joan Miró. Seville: Sala San Hermenegildo, 3-29 May 2005 ; Córdoba: Caja Sur. Sala de Exposiciones, 7 June-10 July 2005
Comments

A break in the sky gives us hope has more than a few points in common with the vitality of American Abstract Expressionism. Thus, the black background reflects the immediacy of the act of painting, with washes, dribbles, scratches made with the brush handle, and negative imprints. Similarly, the circular composition, the result of turning the canvas round (a fact corroborated by photographs taken in 1953 and 1954), recalls the off-centre compositions of Action Painting. But with Miró, all these movements of the canvas had a stabilising purpose, in the same way as the elements depicted imposed a final order on the initial chaos.