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Modern and Contemporary Art
Photo credit: Yale University Art Gallery
Artist: Joan Miró, Spanish, 1893–1983

Le renversement (Somersault)

1924

Oil, graphite, charcoal, and tempera on canvas board

92.4 × 72.8 cm (36 3/8 × 28 11/16 in.)
framed: 95.4 × 76.2 × 5.7 cm (37 9/16 × 30 × 2 1/4 in.)
Gift of Collection Société Anonyme
1941.572
Painted in the summer of 1924 during Joan Miró’s annual sojourn in Montroig, Spain, Le Renversement (“The Toppling”) offers a glimpse into the artist’s imagination. Here, Miró’s rotation of the customary horizontal orientation of landscape painting is only one of a series of reversals in a painting that suggests a Surrealist dream-world. The mustachioed stick figure, flanked by exclamations “AH!” and “HoO!”, inhabits a world of text and image, sight and sound, drawing on Surrealism’s roots in poetry. The title provides a significant key to the work’s central idea, suggesting the deliberate overthrow of traditional, rational relationships.
Status: 
On view
Culture: 
Spanish
Period: 
20th century
Classification: 
Paintings
Bibliography: 

Ruth L. Bohan et al., The Société Anonyme: Modernism for America, ed. Jennifer Gross, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 2006), 179, 199, ill.

Robert L. Herbert, Eleanor S. Apter, and Elise K. Kenney, The Société Anonyme and the Dreier Bequest at Yale University: A Catalogue Raisonné (New Haven, Conn.: Yale University Press, 1984), 462, no. 470, ill.

Collection of the Société Anonyme: Museum of Modern Art 1920 (New Haven, Conn.: Yale University Art Gallery, 1950), 108-09, ill.

Ruth L. Bohan, The Société Anonyme’s Brooklyn Exhibition: Katherine Dreier and Modernism in America (Ann Arbor, Mich.: University of Michigan Research Press, 1982), 150, fig. 10.

Elan Vital oder das Auge des Eros, exh. cat. (Munich: Haus der Kunst, 1994), 563, no. 438.

Joan Miró, exh. cat. (New York: Acquavella Galleries, Inc., 1972), no. 10.

James Johnson Sweeney, Joan Miró, exh. cat. (New York: Museum of Modern Art, 1941), 28–29.

Harold Rosenberg, “Fertile Fields,” New Yorker (December 23, 1972): 61–64.

Note: This electronic record was created from historic documentation that does not necessarily reflect the Yale University Art Gallery’s complete or current knowledge about the object. Review and updating of such records is ongoing.