From a conversation between Denys Chevalier and Joan Miro: The two were standing in front of the above painting. "People," Chevalier said, "have often pointed out the symbolism of the foot in your work. "Yes," Miro replied, "in different paintings over the years, I have painted feet, more or less realistically, outrageously enlarged or distorted. The foot has always been intensely interesting to me—its form, its function. Isn't it the foot that allows man to make contact with the earth? And there's irony in it, too. We talk about putting our foot in our mouth, don't we? No matter, during those years [1925] my paintings no longer showed the pull of gravity; I wanted to give it an astral quality. My preoccupation with dreams became mixed up with eroticism, whreas my open writing was enhanced by the addition of dotted lines. I also made poem-paintings, with written texts. My last work from this dream period were painted on white backgrounds. Their sharper linear quality reminds some people of frescoes."
—Originally published in Aujourd'hui: Art et architecture (Paris), November 1962, reprinted in Joan Miro: Selected Writings and Interviews, Margit Rowell, ed. (Da Capo Press, 1992).