At the Miro exhibition at the Tate last year, I was overwhelmed by the Barcelona Series, having been softened up by the earlier work, and was in heart-opened, receptive mood when I entered the room with the three Blue canvases. I sat and contemplated them. The computer screen does them no justice: they are 270x 355 cm each, and sitting in front of them, among other people who felt similar respect, I could have fallen into them. I have had three A5 sized postcards of them on my shelves since.
I could make up a story of them, the red flaring up to organise the black dots, then going away- characters who Are, and I have no moral judgment on them: they could be “good” or “bad”, cooperative or confrontational. No, actually- I have a multitude of moral judgments, which fluctuate, and so fade as I contemplate the art work into stillness and acceptance.
I find it fascinating that I love the proportions, especially of the second, and I do not know why. “Anyone could paint that”- I do not think that is true: the shading on the red, the black dots, are all in the perfect place for them. I can make no argument for this position, but I believe it to be true. They are worth the attention of the Pompidou Centre, and the Tate, and the multitudes of people who see them.
I read at the exhibition that Miro took a great deal of care of the shape of his lines. Those long diagonals in I and III look like rapid scrawls, and I do not know how fast they were made, or whether they needed to be done more than once: but I do know that Miro took care making them.