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12 © Successió Miró / 2020, ProLitteris, Zurich Preview of the Impressionist & Modern Art auction on 3 July 2020 Osmosis between Surrealism and reality In 1956 Joan Miró moved to Cala Major on Mallorca, where his friend, the architect Josep Lluís Sert, had built him a studio. The artist had always dreamed of such a studio, and it was to provide himwith space for hismon- umental works of the 1960s and 1970s: "[...] my dream, once I can really settle down somewhere, is to have a largeworkshop, not somuch for lighting, [...] but to have space for many canvasses, because the more I work, the more I want to work". In his later years, he focused on minimalist metaphysical landscapes. Radically freed of motifs, these works are highlights of Miró's oeuvre. The art historian Jacques Dupin noted formal referenc- es in Miró's painting to the twelve-tone music of that period. In this version of "Solitude III/III” (ill. 1), a series of small black dots catches the eye: a comparable hori- zontal arrangement was employed by Miró a year later in one of his most famous works, "Bleu II", which is now the centre of a large triptych in the Musée d'Art Mod- erne Centre Pompidou in Paris. Lettrist and numerical signs, as seen in “Painting”, a panoramic work with black background (ill. 3), testify to Miró's interest in concrete poetry and in reducing the representation to a strictminimum. It becomes evident in such works that Miró's art cannot be viewed in iso- lation. There are numerous interactions and influences 1 3