The farm miro3/3/2023 ![]() Hemingway hung the work over the bed in his and Hadley’s second-floor apartment on the Rue Notre-Dame-des-Champs.Īmong the cognoscenti, The Farm was already deemed a major aesthetic statement in 1926, and an essay by Hemingway enhanced its reputation. Hemingway returned to the gallery the next day with a 500-franc deposit, and in September he borrowed the rest from the wealthy Dos Passos. Shipman, who was in on the birthday present scheme, consented to roll the dice for the chance to buy the Miró. ![]() Hadley’s 34th birthday was coming up on November 9, and he had a guilty conscience not just for spending the income from her trust fund but for other well-known reasons. Hemingway had the 4,000-franc ($250) advance for In Our Time from Horace Liveright burning a hole in his pocket. The centerpiece of the show was placed on hold at first by Hemingway’s friend Evan Shipman, who said yes to the 5,000-franc asking price but failed to leave a down payment. Hemingway’s wife, Hadley, canvased the attendees for the autographs of people such as Max Ernst, Aragon, and André Breton, all listed in the catalogue. The big guns of the surrealist movement turned out at the gallery opening on June 12, 1926, when The Farm returned to public view. Clark called Picasso’s most truthful, and of the still-lifes Murphy painted at the same time. This evenly illuminated, tightly rendered adherence to form is also the essence of the large-scale still lifes that T.J. ![]() She praised the way they conveyed “the flatness of the continuous present,” a phrase that could be applied as well to both her writing and Hemingway’s. Miró nonetheless had major supporters early in his career, including Gertrude Stein, an admirer of the still life and landscape paintings he made in Horta, his home village in Catalonia. It was offered to two galleries (those of Léonce Rosenberg, best known for representing the cubists, and Pierre Loeb), but the sheer scale of the work made it difficult to sell. ![]() It was completed in 1922 and shown at the Salon d’Automne the next year (a show in which Murphy had two paintings), and in a letter written many years later Hemingway said he was smitten by the painting right at the opening. It took Miró ten months to paint in his studio on the Rue Blomet. The large (four feet by four and a half feet) painting was the main attraction in Miró’s one-man exhibition at the Galerie Pierre in the spring of 1926, but connoisseurs had begun talking about it five years before. Miró had actually been timekeeper during some of Hemingway’s boxing workouts, and Hemingway visited the Miró family farm in Montroig, Spain, near Tarragona, in 1929 after he bought the work. His acquisition of Joan Miró’s greatest painting, The Farm, is more than just an anecdote illustrating a little-known artsy side to “Papa” Hemingway, so different from the machismo stories of his pounding poor Morley Callaghan in the boxing ring, cycling with Dos Passos, drilling tennis balls through the racket of Pound, boozing with matadors, and eventually slaying lions. The highlight of his experience as a collector of art offers insight not just into his range of intellectual interests, but also into what he was trying to do as a writer. The ravishing descriptions in A Moveable Feast give a strong taste of the powerful role that art played in the life and thought of Hemingway.
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