This work is an excellent example of the poetic idiom of this Catalan artist, populated with signs that substantiate his creative and gestural freedom.

The use of printmaking as a medium allowed Miró to reach a much wider public. His inventiveness and his panache for experimenting with new materials allowed him to bring new methods to the process of engraving that unquestionably enhanced the expressiveness of the work. The results are clearly those of a master breaking away from academicism yet without totally relinquishing tradition.

As from 1967, Miró began to use carborundum, a printmaking technique invented by Henri Goetz (1909-1989). In contrast with traditional printmaking -based on the use of , dry point or acid- the new material proportioned greater relief thanks to a structure made of elements highly resistant to pressure. The larger dimensions of the paper, reaching up to 160 x 129 cm, made it possible to create monumental engravings, both in size and in the depth of colours and the precision and power of the drawing, which is further reinforced through the material enabled by using carborundum.

In spite of the strong presence of black, filling much of the paper, the work conveys great charm and a sense of calm. Once again, here we find his signature colours (red, yellow, green and blue) and signs (stars, arrows, eye), with black treated as yet another colour.