The Painting, 1950 shows a grainy surface, consisting of fine moire structures and pure, glowing colours. On this resdess - but by no means disharmonious - surface a number of figures from Miro's world of symbols are gathered together, which are quite capable of holding their own against the strong colourful stimuli.
The ropes and cords which have been incorporated may be meant to point to the physically tangible reality of the painting - an additional optical stimulus which did not find its way into informal art until considerably later.
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