As Margit Rowell has pointed out, pieces from this period constituted a major revolution in Miró's body of work, and the collages he made at that time would go on to serve as a source of inspiration for the paintings created several years later, forming the alphabet of a prototype language that the artist continued to use from then on: "The assemblages Miró made at the time are, by their economy of means and the great plasticity of the materials used, wonderful poetic pictograms. In the past, a descriptive detail would bear a relationship to reality; now, it is the texture, the rhythm of the forms, their dynamism, and the impression they leave in the eye and the memory of the viewer, that become reality itself" (Margit Rowell, Joan Miró, Peinture = Poésie, Paris, 1976, p. 55).
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