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Lot Essay
"Now I draw by dipping my finger in the paint. Of course, in order to obtain contrasts, I sometimes make very fine strokes; and I often play with broad strokes against the narrow strokes. I do not make these fine strokes with my finger. If I am working with brushes, I use a very thin brush. If not I draw with a Conté crayon or a Japanese bamboo dipped in India ink, or sometimes I even use a tooth pick. This method of using my finger to paint is fairly recent. In my monograph there is a photo of me using this technique. I have been relying on my fingers more and more. Now I even spread out the colour with my fist, rubbing it in a circle. Sometimes I use an easel. But that has become quite rare. I put my paintings on sawhorses or on the floor. When they're on the ground I can walk on them, and that's convenient, especially in the case of a large canvas. When I'm finished, I put it on the wall with someone's help, or put it on the easel, or lean it against something to stand it up. Then I can see what has to be corrected.
"After that I put the canvas back on the floor to do the corrections. On the floor I work flat on my stomach. Oh yes! - paint gets all over me. My face and hair get all dirty, completely splattered. As for my work clothes, they become a real painting... I feel in great shape" (Miró, interview with Y. Taillandier for XXe siècle, 1974, reproduced in M. Rowell (ed.), Joan Miró: Selected Writings and Interviews, London, 1987, pp. 285-6).
"After that I put the canvas back on the floor to do the corrections. On the floor I work flat on my stomach. Oh yes! - paint gets all over me. My face and hair get all dirty, completely splattered. As for my work clothes, they become a real painting... I feel in great shape" (Miró, interview with Y. Taillandier for XXe siècle, 1974, reproduced in M. Rowell (ed.), Joan Miró: Selected Writings and Interviews, London, 1987, pp. 285-6).