Joan Miró's Burnt Canvases from 1973 represent a radical departure from conventional painting, marking a significant period of innovation in his artistic journey. As Miró entered the latter stages of his career, he sought new forms of expression that would allow him to break free from the constraints of traditional easel painting and the commercialization of his earlier works. This led him to explore the use of fire, scissors, and a wet broom as tools for creating art, a process that not only involved destruction but also opened up new avenues for creative expression (Tretyakov Gallery Magazine).
Miró's engagement with these unconventional techniques was also a reflection of his desire to develop a simpler, more universal pictorial language that could be accessible and comprehensible to everyone. This aspiration was influenced by his encounters with the work of other artists and cultures, including the Abstract Expressionists in the USA and Japanese calligraphy and aesthetics, which inspired him to experiment with large formats and a gestural method of painting (Tretyakov Gallery Magazine).
The Burnt Canvases themselves were a deliberate challenge to the art market and the commercial value of art. Miró expressed his contempt for the commercialization of art by damaging works that could have sold for a fortune, stating in an interview that his actions were "another way of saying shit to all those who say these canvases are worth a fortune" (Apollo Magazine). This act of defiance against the commercial aspects of the art world was mirrored in his approach to displaying these works. During an exhibition at the Grand Palais in Paris, Miró insisted on hanging the burnt canvases from the ceiling, allowing viewers to see both the front and back, emphasizing their anti-commercial nature (Apollo Magazine).
Beyond their political and commercial defiance, Miró's burnt canvases and the Sobreteixim series, which involved tapestry, collage, and painting, showcased his exploration of different materials and techniques. These works, characterized by their use of found objects and the incorporation of craft materials, represented a melding of avant-garde ideas with ancient techniques, underscoring Miró's continuous pursuit of innovation and his challenge to traditional artistic norms (Apollo Magazine).
Joan Miró's Burnt Canvases from 1973 encapsulate a pivotal moment in the artist's career, reflecting his radical approach to art-making, his critique of the commercialization of art, and his endless quest for new forms of expression that push the boundaries of conventional painting.