Galerie Claude Bernard, Paris
Acquavella Galleries, New York
Harold Diamond, New York
Acquired from the above in 1973
Jacques Dupin touches upon this very point in his discussion of Miró's paintings from the the early 1960s: "In some cases, the artist stressed the power, the brutality of a summary, rough graphism, born of a single gesture and closely related to graffiti. In other cases, a few economical, light lines serve as counterpoint to the free play of splashes and spots of color. Seemingly contradictory, both approaches reflect a mistrust of the sign, a desire to eliminated calculated, fixed forms from his vocabulary so as to gain in spontaneity, directness, and a purer revelation of the act of painting" (Jacques Dupin, Miró, New York, 2003, p. 303).
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