Paintings on Masonite

Rosa Maria Malet Ph.D, President of the Fundació Joan Miró in Barcelona (1980-2017), compares masonites with the wild paintings immediately preceding, painted on copper and other materials:

On July 18, the civil war is declared. Given this fact, Miró painted witnesses of the facts, but a kind of direct and violent exorcisms, the 27 masonites. What is wild in this series are not representations, but the very act of painting. The monsters are replaced by the painter's direct attack on the canvas that serves as a stimulus. The matter of funds, masonite, it will never be completely hidden. Miró created a mix with casein, black Ripoli, sand, bitumen ... [...] The masonites have the force of a shout.

The Museum of Modern Art in New York also emphasizes the violence of the technique:

[...] it has long been suggested that these works represent Miró’s response to the emotional and physical turmoil in his homeland, although the artist insisted that they were produced "despite the current events." In these works, narrative is replaced by a heightened emphasis on texture and materials, including oil and enamel paints, casein, tar, sand, and pebbles. Miró sometimes violently attacked his Masonite panels, gouging craters into their fibrous matrix, creating irreversible marks and conveying a sense of raw immediacy.

The works were painted in Mont-roig del Camp^[3] and Barcelona.^[4] Shortly after he finished these paintings, the artist left the country and went back to Paris, in the fall of 1936, where he would stay for four years.

• The Love Embrace of the Universe, the Earth (Mexico), Myself, Diego, and Señor Xolotl, a painting on masonite by Frida Kahlo.