- Technique:Black chalk and oil on canvas
- Dimensions:60 x 92 cm
- Category: Painting
- Entry date:2000
- Register number:DE01371
From 1923-1924, Joan Miró moved away from the precision of what is known as his “detailistic phase”, in order to radically change the direction of his output, pushing it more towards the proposals of Dadaism and Surrealism. The creative freedom that came with his new pictorial approach led him to experiment with a new language, the starting point of which was that most authentic of Surrealist procedures, Automatism. The sign is dissolved in the imaginary space to an extent that touches abstraction, while swirls, dotted lines and loose strokes arise out of the sparsely covered, pale background – a background which constituted the identifying sign for all his paintings of the time.
The images that were so recognisable before have almost completely disappeared, making way for a different kind of representation, the ideographic language which would, from this point on, identify Miró’s work. The elements that define Miró’s mature output – structure, form, colour, rhythm – can already be seen in the work done in this decade, which would have a decisive effect on the evolution of Miró’s plastic poetics, as Pastorale (Pastoral) shows.
Paloma Esteban Leal