Jacques Dupin wrote about this group of paintings: ‘The burlap in itself suggests a nocturnal atmosphere, which gives an overtone of gravity of these paintings. The various versions of Woman and Woman and Bird are characterized by a purity, serenity, and joyfulness that distinguish them from other recent productions. […] Color is used only to modulate the grounds or to animate the burlap with pure tones. […] This theme provides us with one of the keys to Miró’s cosmic imagination: it expounds the conflict between the earthly and aerial elements and, in the dialogue between the woman and the bird, renders the precariousness of the balance achieved between them. There is nothing in the least spiritual about this flight, this blueprint of the agility of desire, the scents and the heat of this summer night suggested by the flashes of color on the dark, rough-woven material. Nothing is heavy or stabilized in this poetic stylization of woman in process of metamorphosis between fixity and volatility. The analogy between the two creatures, and the interlacing of their lines are sometimes so strong that it is hard to say where the woman ends and the bird begins, whether they do not after all form one marvellous hybrid creature’ (J. Dupin, op. cit., 1962, p. 485).
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