MIRÓ HAS BEEN AND always will be a great inspiration to me. Miró, when he planted his paint and palette, harvested a purple-green abstract landscape with iridescent forms drawn from his collective unconscious memory and projected future memories. What he did with Prades, the Village, in 1917 was more futuristic in its own time than his late work, which was less of its own time and perhaps more of a presence in an interrelated time frame of past and future.

Participating in the harvest was the picture itself, thus giving Miró’s art the quality of being organic. In viewing the MoMA show, I was amazed to see that Miró had attained a kind of perfection as early as 1919, with his self-portrait of that year. The divided and multifaceted, again organic growth of his mind’s eye, and his own image apart from his own mind, were poetic and futuristic. In considering the necessity to fuse one’s identity

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