Room 419

Picasso and Miró’s final works offer a unique insight into the twilight of painting as the foremost medium of avant-garde experimentation. Towards the end of their careers, both artists were exploring the limits of painting in very different ways. Picasso turned painting in on itself in his series El pintor y la modelo (The Painter and his Model), 1963, creating unsolvable meta-artistic origami. Miró, on the other hand, got closer to the degree zero of painting in an attempt to transcend all boundaries.

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