"Miro came of age as an artist just at the time World War 1. ended. With the end of the war came the end of all the new pre-war art conceptions. A young painter could not start as a Cubist or a Futurist, and Dada was the only manifestation at the moment. Miro began by painting farm scenes from the countryside of Barcelona, his native land.. .A few years later he came to Paris and found himself among the Dadaists who were, at that time, transmuting into Surrealism. In spite of this contact Miró kept aloof from any direct influence and showed a series of canvases in which form submitted to strong colouring expressed a new two-dimensional cosmogony, in no way related to abstraction."

“the beginning of a cult devoted to the material on the canvas – the actual pigment..”

“Well, this man wanted to know why I stopped painting .. ..and he had said because of dealers and money and various reasons. Largely moralistic reasons.. ..But you know; it wasn’t like that. It’s like you break a leg; you don't mean to do it.”

“Another important point which you so very accurately sensed concerns the idea that the glass in actual fact is not meant to be looked at . It should be accompanied by a 'literary' text, as amorphous as possible, which never took shape. And the two elements, glass for the eyes, text for the ears and understanding, should complement each other and above all prevent one or the other from taking on an aesthetic-plastic or literary form. All in all, I am hugely indebted to you for having stripped bare my Bride stripped bare .”

“Painting is over and done with. Who could do anything better than this propeller? Look, could you do that?”

“I wanted to get away from the physical act of painting.. .For me the title , with inscription under: 'Fresh Widow Copyright Rose Sélavy, 1920', was very important.. .I was interested in ideas – not merely visual products. I wanted to put painting once again at the service of the mind.”

“..we must remember that this 'art coefficient' is a personal expression of art 'à l'état brute', that is, still in a raw state, which must be 'refined' as pure sugar from molasses, by the spectator; the digit of this coefficient has no bearing whatsoever on his verdict.. ..the role of the spectator is to determine the weight of the work on the aesthetic scale.”