The 1940s was a critical decade for the career and œuvre of Miró. Although his work was primarily known through friends and fellow painters in Europe, Miró's notoriety was established in New York with the first retrospective of his work at the Museum of Modern Art in 1941, followed by an exhibition of his Constellations in 1945 at the Pierre Matisse Gallery. Paris similarly embraced Miró upon his return in 1948, both with critical and financial success; Miró's inaugural exhibition at Galerie Maeght was held in 1948, the first of many fruitful shows for both the artist and the gallery.
According to Jacques Dupin, 'After the hearty welcome New York and Paris had just given him, Miró had only one wish: to go back to Barcelona as quickly as possible and get back to work. All the travelling, seeing so many old friends and making new ones, together with the feelings aroused at finding his works accepted by a wider public (especially by the younger generation) all this proved a powerful stimulus. And in fact the next two years - 1949 and 1950, which constitute a single period - were exceptionally prolific ones' (J. Dupin, Miró, New York, 1993, p. 280).
Miró's paintings of 1949-50 can be broken into two very distinct series, as noted by Dupin: the elaborate and the spontaneous. The present work relates to the elaborate paintings, works of painstaking detail and care, which are reminiscent of the Constellations.
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