By the time he completed the present work, Miró's compositions had gained a level of expressive freedom and exuberance that evidenced his confidence in his craft. Images of women, stars, birds and moons were omnipresent in his pictures to the point that these elements became memes for the artist's own identity. Jacques Dupin elaborated on the semiotic importance of the figuration in these late paintings: "[T]he sign itself was no longer the image's double, it was rather reality assimilated then spat out by the painter, a reality he had incorporated then liberated, like air or light. The importance of the theme now depended on its manner of appearing or disappearing, and the few figures Miró still endlessly named and inscribed in his works are the natural go-between and guarantor of the reality of his universe. It would perhaps be more fruitful to give an account of those figures that have disappeared than of the survivors" (Jacques Dupin, Joan Miró, Catalogue raisonné, Paintings, vol. V, Paris, 2003, pp. 39-40).
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