Miró's large-scale anthromorphical forms relate to a mysterious world he was creating in his studio: "It is in sculpture that I will create a truly phantasmagoric world of loving monsters, what I do in painting is more conventional ... the sculptures must resemble living monsters who will live in the studio, a world apart" (M. Rowell, (ed.) Joan Miró, Selected Writings and Interviews, London, 1986, p. 260.)

Miró emphasised the role of chance in his sculpture, "I want to do sculpture, enormous sculpture. I am preparing myself by amassing piles of things in my studio ... I use things found by divine chance, bits of metal, stone, etc., the way I use schematic sign drawn at random on the paper or an accident, that is the only thing, this magic spark that counts in art". (bid., pp. 260, 191)

Sold with a photo-certificate from Jacques Dupin dated Paris,
4 septembre 90