Graphisme concret

In order to lend his compositions unity, Miró realized that he had to work either very quickly, finishing even large works in one sitting, or very slowly, through a process of incremental elaboration. The present work falls into the former category. In it the viewer comes face to face with the intensity and violence of the creative act. The signs comprise a record of the event and are now manifest as a "concrete" reality unto itself. "...The brutal forms thus projected are neither arbitrary nor are they mere products of some automatism. They are always related to Miró's vocabulary of signs and the other elements of his language, but they are spontaneous; they are not "worked-up" emanations of this language, but a deliberate simplification of it. Hence their expressive power is all the greater; their energy has been caught at the source and let go at once, the sign being the condensed vehicle of a subterranean energy that otherwise would be dispersed and lost." (J. Dupin, Miró, Barcelona, 1993, p. 294)