he was working on the Bleu I, II, III triptych and similar abstract murals in Paris, he was quoted saying: “The spectacle of the sky overwhelms me. I’m overwhelmed when I see, in an immense sky, the crescent of the moon, or the sun. There, in my pictures, tiny forms in huge, empty spaces. Empty spaces, empty horizons, empty plains—everything which is bare has always greatly impressed me.” (Twentieth Century Artists on Art, 1958). Bleu I and Bleu III are nearly identical to Bleu II with exactly the same backgrounds of matching color and simple lines and shapes. To animate the sparseness of Bleu IIs canvas, Miró includes the dynamic red line on the left side of the painting, conveying a sharp shock in the calm blue surface. He also employs the series of bold, defined black dots radiating out from the red line in a horizontal flow to transmit the motion of the line through the whole expanse of the canvas. With these shapes, Miró creates an energetic, powerful piece, a bold work brought to life by the precise (but by intention very free) placement of geometric shapes and bright colors, allowing the viewer a glimpse into the unspoiled subconscious of the artist and truly embodying the unique style for which Miró is well known for today. References "Chronology of Joan Miró" External links An interactive soundscape (MusIcon) of the painting. Paintings by Joan Miró 1961 paintings Paintings in the collection of the Musée National d'Art Moderne