One looks at the image of this work painted in 1925 by the Catalan artist Joan Miró and wonders the reason for such a title: The body of my brunette. Well, to understand it, perhaps the best thing to do is to read Miró himself, who said:
“I find my titles as I work, in the same way that in my canvases one thing leads to another. When I found the title, I live in that environment. The title can become totally real to me, just as a model, a reclining woman, for example, can become real to another painter. For me, the title is a very accurate reality.”
The body of my brunette by Joan Miró
The truth is that once we read this, we would look at the canvas again and look for its meaning. But in the very personal art of Miró it is not enough to contemplate it with such a traditional spirit. In Miró the meanings of his images must be found beyond perception.
It is true that we can recognize certain forms, and imagine the sinuosity of a female body, and we can even imagine a perky breast. But the truth is that the painter does not consider painting that body, not even suggesting it. He, as a good representative ofSurrealism, wants to reach his subconscious and also provoke ours.
The painting, in reality, from a strictly graphic point of view, is absolutely simple. But it's undeniablethat with that simplicity is capable of creating an image of mystery, and that leaves us all confused.
There is a brown background, and suddenly it is crossed by a white line, in which we can imagine a ghost that stares at us with its two blue eyes towards the middle of the canvas. And on top of that there are all those phrases written on the painting. Some phrases in French and where the title of the painting is included. They are phrases almost like verses, which would make the work halfway between painting and poetry, but at the same time it would be neither.
The phrases become part of the fluctuation of strokes that make up the whole scene, if we can call it that. They are shapes that are still and are also in motion. In short, it is a painting that brings together many of the characteristics of Miró's painting and where there are obvious similarities with works such as The Harlequin's Carnival, although it is true that here it is on the way to greater abstraction and economy of means, as can be seen in to have his own Mosaic of the Ramblas in Barcelona that he would do many years later.