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From the time of his first trip to Paris in 1920 Miró divided his time between the French capital in winter and spring and lengthy stays on the family farm. The latter were solitary periods solely devoted to painting and lasting the entire summer and autumn. His contact with Parisian avant-garde circles, particularly those of the Dada and Surrealist poets, and his discovery of the work of Paul Klee were key factors in the radical transformation of his work around 1923-1924. From then on Miró’s pictorial language moved away from a concrete depiction of the landscape as seen in his previous phase and now looked for a sense of “transparency” or immateriality. Despite this, he did not abandon his connections with the earth, moving away from figuration but retaining references to Mont-roig. Miró’s paintings continued to be “animated landscapes”, spaces filled with figures and rural archetypes which, like the figure of the Catalan peasant, once again became crucial elements of his world experience.
Catalan Peasant with Guitar
Man with a Pipe

Joan Miró
Catalan Peasant with Guitar, 1924
(Paysan catalan à la guitare)
Oil on canvas. 147 x 114 cm
Museo Thyssen-Bornemisza, Madrid
Joan Miró
Man with a Pipe, 1925
(Homme a la pipe)
Oil on canvas. 146 x 114 cm
Museo Nacional Centro de Arte Reina Sofía, Madrid
Joan Miró
Painting, 1926
Oil on canvas. 72.5 x 92 cm
Thyssen-Bornemisza Collections