John Mcewen comments on Bleu I, II, III
Miró was born in Barcelona, his father a goldsmith and watchmaker. His father disregarded his son’s artistic bent, insisting on business school. Miró stubbornly combined business studies with classes at the School of Fine Arts. His father next forced him to train at a drug company. Miró had already shown in a public exhibition and conflict of interest proved too much: he developed typhoid fever and, after convalescing at the recently purchased family farm, he was finally allowed his artistic way. in 1912, he registered at Francesc Galí’s private, progressive art school, where his gift as a colourist was first recognised; his understanding of form advanced by being taught to draw objects from touch, not sight. in 1920, he visited Paris, where he met Picasso and, from then on, he divided his time between Parisian winters and summers at the family farm. Contact with the international avantgarde soon resulted in his pursuing his own abstracted take on appearances in paintings as intricate and jewel-like as might be expected from his heredity. in 1925, his artistic maturity was confirmed when he exhibited with Picasso, as well as other established older artists, in the first ‘Surrealist’ exhibition.
Of these uncharacteristically large paintings—a response in old age to the ‘punch in the chest’ delivered by the unconventionally large paintings of the post-second World War American Abstract Expressionists— he said: ‘it cost me an enormous effort, a very great inner tension, to attain the spareness i wanted… one weakness, one mistake, and everything would have been ruined… These canvases are the culmination of everything i had tried to do.’