Following the significant series of paintings of 1953 and 1954, for five years Miró devoted himself almost exclusively, except for a dozent small works on cardboard from 1955, to ceramics, engravings and lithography. When in 1956 the artist, who had always dreamed of a large studio, moved to his new villa in Majorca, one of the consequences was that Miró found himself surrounded by works of art from forty years of creativity. The result of this loking back was an exploration to the unknown.
Miró who had visited America for the first time in 1947, returned to the United States in 1959. Again, following his visist to the 1952 Pollock exhibition at the Facchetti Studio in Paris, he was offered an extensive exposure to the work of the New York artists, espacially the late Jackson Pollock, which had a decisive input: 'It showed me the liberties we can take, and how far we can go, beyond the limits. In a sense it freed me' (in J. Dupin, Miró, New York, 1993, p. 303)
In 1960 Miró had resumed his view towards painting and his production in the early 1960s turned prolific again. In his works from this period he showed an expressive violence, a profound alteration which makes often unrecognizable the calligraphy of signs.
In the present work the artist reduced the subject to its essence; a few economical, light lines serve as counterpoint to the free play a splashes and spots of colours - a pure revelation of the act of painting.