In this work, painted on a “recovered” sheet of paper – in a knowing reference to the Surrealist tradition of reused objects and collage – the figure and the bird are fused into a kind of ideogram, a symbol reduced to its primal essence. The same year, Miró would also paint a picture that can be considered a pendant to the present work, and whose theme, complimenting the bird, is the woman (fig. 1).
As Jacques Dupin, the artist’s official biographer, expresses in the catalogue to the exhibition at the Fondation Maeght in 1979 in which this work featured: “Faced with the prevalence of the theme Woman and Bird in Miró’s oeuvre, one wonders: is the woman not a mother-goddess, familiar and all-enveloping, and the bird not the painter himself who looks to her for refuge, but above all for the power to fly and sing with intensity?” (Jacques Dupin, in Miró, Fondation Maeght, 1979, p.26).
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