Via his own Surrealism-inspired exploration, Miró invented a new kind of pictorial space in which carefully rendered objects issuing strictly from the artist's imagination became juxtaposed with basic, recognizable forms.
He used two techniques: some elements were painted directly on the canvas, but others were first drawn and then colored. In contrast with the white background of his anti-painting crisis, the background once again became one of the most important parts of his work during this period