Les adieux 1981

Joan Miró made *Les adieux* with an approach that feels almost like drawing in paint; the gestures are quick, and the colors are bright and playful. Looking at it, I think of Miró in his studio, maybe wrestling with the canvas, searching for the right combination of shapes and colors. There’s a real back-and-forth, a give and take, as he builds the composition—an intuitive process where the painting comes alive through experimentation. I'm drawn to the bold black lines that define the forms, offset by geometric planes of primary hues. It feels fresh, immediate. I think of other artists, like Matisse, and how they also used color and line to create space and form. Like them, Miró's not just representing the world, he’s re-imagining it. Ultimately, paintings are an ongoing conversation, a creative exchange across time. And abstraction like this isn't about fixed meanings—it’s about inviting us to participate, to feel, and to find our own connections.