Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.
Jacques Dupin, Joan Miro: Life and Work, translated by Norbert Guterman (New York, 1962), pp. 255, 528, no. 359 (ill.).
Harriet Janis and Rudi Blesh, Collage: Personalities, Concepts, Techniques (Philadelphia, 1962), p. 90, no. 98 (ill.).
Nicholas Calas, “Surrealist Heritage?,” Arts Magazine 42 (Mar. 1968), p. 27 (ill.).
John Ashbery, “Growing Up Surreal,” Art News 67 (May 1968), p. 44 (ill.).
Ellen Mandelbaum, “Surrealist Composition: Surprise Syntax,” Artforum 6 (May 1968), pp. 33, 35 (ill.).
Herta Wescher, Die Collage: Geshichte eines Künstlerischen Ausdrucksmittels (Cologne, 1968), p. 191 and pl. 27; English edition, translated by Robert E. Wolf (New York, 1979), p. 191 and pl. 27.
Architechtural Digest (1973), p. 21 (photo of Bergman home).
Sidney Janis Gallery, Twenty-Five Years of Janis, Part 1, exh. cat. (New York, 1973), no. 82 (ill.).
University of Chicago Magazine (1982), p. 23 (photo of Bergman home).
Robert Storr, “No Joy in Mudville: Greenberg’s Modernism Then and Now,” in Kirk Varnedoe and Adam Gopnik (editor), Modern Art and Popular Culture (New York, 1990), p. 173, fig. 198.
Dawn Ades, with Margherita Andreotti and Adam Jolles, Surrealist Art: The Lindy and Edwin Bergman Collection at the Art Institute of Chicago (Chicago: Art Institute of Chicago, 1997), pp. 202-04, cat. 100 (color ill.).
New York, Sidney Janis Gallery, “Twentieth-Century Artists,” 1960, cat. 43 (ill.).
Madrid, Sala de la cacharreria del ateneo de Madrid, “Miró,” 1964.
New York, Sidney Janis Gallery, “Two Generations: Picasso to Pollock,” 1967, cat. 33 (ill.).
New York, Museum of Modern Art, “Dada, Surrealism, and Their Heritage,” 1968, cat. 240, fig. 190, p. 129.
New York, Acquavella Galleries, Inc., “Joan Miró,” 1972, cat. 21 (ill.).
Chicago, Museum of Contemporary Art, “Twentieth-Century Drawings from Chicago Collections,” 1973, n.p.
Saint Louis, Washington University Gallery of Art, “Joan Miró: The Development of a Sign Language,” 1980, pp. 32-33, 63 n. 97, 66 and fig. 24; also Chicago.
Chicago, Museum of Contemporary Art, “Dada and Surrealism in Chicago Collections,” 1984–1985, p. 197 and pl. 44.
Art Institute of Chicago, “A Tribute to Edwin A. Bergman (1917–1986): Selections from the Lindy and Edwin Bergman Collection,” 1986, pamphlet no. 43.
Kunsthaus Zürich, “Joan Miró,” 1986-87, cat. 74 (ill.); also Düsseldorf.
New York, Solomon R. Guggenheim Museum, “Joan Miró: A Retrospective,” 1987, cat. 60 (ill.).
G. David Thompson, Pittsburgh [fax of May 26, 1995, from Claudia Neugebauer of the Galerie Beyeler, Basel]; sold to the Galerie Beyeler, Basel, 1959 [above fax and fax of May 18, 1995, from Susan Stroman of the Sidney Janis Gallery, New York]; sold to the Sidney Janis Gallery, New York, 1960 [on loan to the Galerie Chalette, New York, 1964]; sold to Lindy and Edwin Bergman, Chicago, 1966; given to the Art Institute of Chicago, 2018.
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