Around 1929 Miró experienced a creative crisis in which he began to explore a variety of directions and modes of expression. During this period, in which he said that he “murdered painting”, Miró almost completely abandoned painting and experimented with other media such as collage, drawing on highly textured supports that encumbered the line, and “objects” created through unlikely combinations of throwaway objects and natural elements found in the landscape. These works are Miró’s first incursions into the world of three-dimensions, a world to which he would frequently return after World War II. All of them reveal his interest in emphasising the different sensory qualities of the materials employed and in a poetic of the sordid that arose from his desire to break away from the clichés of “good taste” traditionally associated with artistic creation.
