This simple, two-dimensional composition, and its rejection of all modeling and detail in favor of summary brushstrokes, echo the artist's general distaste for traditional styles of representation and prefigure his embrace of greater abstraction in subsequent years. The lack of physical detail afforded to the forms also imbue the image with a playful sense curiosity, all the while evading easy reference to the figural world. This purely plastic aspect of this work separates it from some of the more barbaric symbols that characterized the artist's later work as the Spanish Civil War reached its peak. Miró's ability to create a blend compositional structure yet unidentifiable subject matter seems to lend this picture a great feeling of unease, expectation and perhaps even prophecy. As Jacques Dupin has rightly noted, "It is as though the Spanish tragedy and the Second World War as well...broke out first in the works of this Catalan artist" (Jacques Dupin, Joan Miró: Life and Work, London, 1962, p. 264).
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