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In the mid-1950s Miró permanently settled in Palma de Mallorca in the studio designed for him by Josep Lluís Sert (by then living in Boston and director of the Harvard school of architecture). During this long final period of his life, Miró’s output became more prolific while his references to the aesthetic of the earth became more pronounced and were now directed towards experiences of a universal nature. These included time and its cyclical manifestations, and the mystery of life and death. Imbued with this spirit, the works of this period use the widest range of techniques and materials — bronze, granite, ceramic, canvas and tapestry — but are at the same time fundamentally associated with destruction. This destruction takes the form of a sort of hand-to-hand struggle between the artist and his work, but one that, like the rural world on which it is based (given that it imitates its cycles of birth and destruction) does not imply annihilation. Rather, it is the necessary condition for life to renew itself.

Burnt Canvas 3
Joan Miró
Burnt Canvas 3, December 4–31, 1973
(Toile brûlée 3)
Acrylic on burnt canvas. 195 x 130 cm
Private collection
Joan Miró
Women, Birds, August 2, 1973
(Femmes, oiseaux)
Acrylic, pencil and wax crayon on unstretched tarpaulin
302 x 257 cm
Fundació Joan Miró, Barcelona
Joan Miró–Josep Llorens Artigas
Head, 1980 (?)
Earthenware. 14 x 12.5 x 7.5 cm
Museu de Ceràmica, Barcelona
Joan Miró
Figure, post–1973
Wood, oil, rope, wool, felt and nails
146 x 55 x 30 cm
Fundació Pilar i Joan Miró a Mallorca
Gift of the artist, 1981
Women, birds