Blue II, Miró

From a technical perspective, Miró seeks a balance between structural control and the freedom of the brushstroke. The use of highly saturated pigments and broad brushes allows him to achieve a homogeneous chromatic surface with a matte, relief-free finish. The black dots, distributed with near-mathematical precision, create a visual rhythm that organizes the pictorial space. The vertical, slightly irregular red line introduces contrast and tension within the structure.

Historically, the Blue Triptych —comprising Blue I, Blue II, and Blue III— was conceived in Miró’s studio in Palma de Mallorca, during a period of introspection and formal synthesis. It represents the culmination of his pursuit of the essential: color as pure emotion and the sign as a universal language. With this series, Miró definitively moved away from surrealist narrative to explore a field of visual contemplation that anticipated the lyrical abstraction and chromatic expressionism of later decades.