Jeune fille rêvant de l'évasion (Young Woman Dreaming of Evasion)

Between 1928 and 1934 Joan Miró approaches the techniques of collage and building objects as a means of anti-pictorial rebellion against the traditional concepts of art. In his final period, from the sixties onwards, he aims to create a series of works that preserve his traditional and fascinating attraction to objects, yet the clear desire to build a corpus of sculptures leads him to the use of one of the most ancient techniques from this discipline: casting.The Museo Reina Sofía’s collection of Miró sculptures, consisting of 43 works dating from 1967 to 1981, responds to this criterion. They are works that arise from a great variety of always humble objects, and that after a long process of definition in which he prepared a multitude of drawings and sketches, was completed with the casting and the patinating of the bronze in the Parellada workshop in Barcelona. Jeune fille rêvant de l’evasion (Young Woman Dreaming of Evasion, 1969) is a delicately configured sculpture that expresses, by way of the intrinsic movement of the shape, the theme of sleep and poetry. Although as the author notes, sculpture is a specific artistic discipline that exists in nature itself, and, as a result, this work is the product of the casting of such prosaic objects as a wooden spoon, a pebble or a fragment of an earthenware pitcher, which become a lyrical cosmic figure-landscape. Miró is able to express with the assemblage of objects the human vulnerability to poetry, thanks to the motion of the figure and the subtlety of its artistic and graphic elements among which the star symbol is included as part of the figure.
Carmen Fernández Aparicio