![miro painting miro painting](https://www.artroombrighton.co.uk/wp-content/uploads/2015/01/harlequins-carnival.jpg)
The period in which he painted this work was marked by the tragedy of the Civil War, but the poignant feeling which permeates his piece was already present in the previous years. Although he never managed to put into practice these ideas, with the sequential disposition of these paintings Mirò intended to break away from the idea of the isolated work.
Miro painting series#
Mirò himself established the origin of these paintings in the project for the ballet Jeux d'Enfants which Massine commissioned him in 1931, and for which he made, between that year and the following, a series of drawings for the costumes and set, in which the dancers and mobile accessories seemed live signs gravitating on the surface. In this connection, it is important to recall Calder's presence in Montroig in 1932, where he presented his wire circus. He intended to project them all on a large canvas, and even to make some objects with wire and hang them before the paintings. In one of the preparatory sketches for the series, Mirò wrote down his initial intention: to consider these paintings on Masonite like cinematographic sequences, indicating the predominant colour in each of them, as well as some of its elements: man, woman, rainbow, wire, etc. Some of the forms are repeated in other paintings from this same set, like the rainbow made with concentric semicircles, the x-shaped figure or the pendulum. On it he drew with continuous black lines the shapes which he then partly covered with colour.
![miro painting miro painting](https://img.kingandmcgaw.com/imagecache/1/5/bmwcm-5.0_fid-880229_fwcm-1.6_ihcm-59.0_iwcm-45.0_lmwcm-5.0_maxdim-1000_mc-ffffff_rmwcm-5.0_si-15468.jpg)
In these works on Masonite, he left the support bare, thus obtaining a chromatic foundation and a rough and textured surface. During the following years he continued to explore rich mediums, textures and objects which would make an impact on the viewer.
Miro painting free#
At the end of the 1920's the artist had already taken a crucial turn in his work, setting himself free with regard to representation and use of mediums in the collages belonging to the period he himself called "Antipainting". Mirò explored a wide range of different mediums: oil, tar, casein and sand, allowing these to share the limelight with the painting itself. This work is part of a set of paintings on Masonite, all of the same size and executed with the same technique, made in Montroig in the summer of 1936.