Like Buy Share View in Room Title Femme et Oiseaux Dans un Paysage, 1970-1974 Artist Joan Miro Ref SPT8710 Type Print Image Size 13" x 18" (33 x 46 cm) Prints 22 x 30 cm (9" x 12") - $25.99 18" x 24" (45 x 60 cm) - $44.00 13" x 18" (33 x 46 cm) - $48.00 24" x 32" (60 x 80 cm) - $75.00 30" x 40" (75 x 100 cm) - $95.00 36" x 48" (90 x 120 cm) - $150.00 Canvas Prints 18" x 24" (45 x 60 cm) - $146.00 24" x 32" (60 x 80 cm) - $235.00 30" x 40" (75 x 100 cm) - $329.00 36" x 48" (90 x 120 cm) - $439.00 Select additional sizes and options from the list Paper Size 18" x 24" (46 x 60 cm) Price $48.00 £28.00 $48.00 €49.00 Add to basket Description Femme et Oiseaux Dans un Paysage is one of several paintings on the poetic theme of women, birds and the night which was a common subject for Miro in the 1960s and 70s. Miro was pursuing joint influences of recent American painting and of Japanese calligraphy on his own uniquely poetic, instinctive and gestural style of painting. American Painting, Miró admitted, had 'showed me a direction I wanted to take but which up to then had remained at the stage of an unfulfilled desire. When I saw these paintings, I said to myself, 'you can do it, too: go to it, you see, it is O.K.!' You must remember that I grew up in the school of Paris. That was hard to break away from.' Inspired by the dramatic large scale open field style of painting as pioneered by such artists as Jackson Pollock and Franz Kline, in the 1960s, Miró, after moving into the large studio he had always dreamed of, began also to make work on an ever-increasing scale. In addition to this, a visit to Japan in 1966 for a retrospective of his work held in Tokyo allowed Miró to meet with Japanese poets, potters and calligraphers whose art he had always admired. In particular, as he recalled of this visit, 'I was fascinated by the work of the Japanese calligraphers and it definitely influenced my own working methods. I work more and more in a state of trance, I would say almost always in a trance these days. And I consider my painting more and more gestural'. As Miró's work of the 1960s progressed he became freer and more at ease with his working process. Similarly, as a work such as Femme et Oiseaux Dans un Paysage demonstrates, as a direct result of this practice, Miró's forms grew more open and expansive, his gestural lines more dramatic and flowing while the poetic nature and integrity of his pictorial vocabulary remained essentially the same. Segregated into distinct fields of pure colour, the smooth flowing calligraphic lines of Miró's powerful glyph-like imagery also signify strongly the transient path and process of their own creation.