This lithograph by Joan Miró, created in 1963 and published in Paris by the renowned Maeght gallery, belongs to the artist’s late period, marked by a masterful command of the lithographic medium. At this stage in his career, Miró distilled his visual language, focusing on gesture, elemental signs, and the subtle balance between emptiness and matter. The compositions of this period — often published for Derrière le Miroir — are characterized by fluid lines, biomorphic shapes, and bursts of pure color — blue, red, yellow — emerging from a deliberately unfilled white background.
Here we find all the hallmarks of his pictorial vocabulary: automatic lines, spots, and flashes of color, orchestrated with silent precision. Rather than depicting a scene, the work opens a mental landscape — a constellation of signs through which the eye wanders freely, with no imposed narrative. It embodies that moment when Miró, freed from figurative constraint, developed a fully autonomous visual language, at once distinctive and powerfully evocative.
