No one else has been able to paint these two very opposing things.” The painter, though born in Barcelona, was always linked with the rural world, especially the town of Mont-roig del Camp, and his early works show an influence of the landscapes and characters in their summer country views in the land of Tarragona.

[5] The observation of everything around him and the lights on the rocks and trees, that changed at certain times with the brightness of the sun, made the artist feel bound to the elemental Earth, of which was said: ...[it] is essential to have your feet firmly resting on the ground to lift into flight through the air when painting ... [One] has to walk on the land, because, through the limbs, it communicates its force.By economic necessity, Miró began visiting various art dealers to sell this painting.

Léonce Rosenberg, among others who took care of the paintings of Picasso, agreed to have it in storage and any time and at the insistence of Miró[clarification needed], he seriously suggested dividing the canvas into small pieces to make it easier to sell.

[7] Hemingway wrote in 1934 in the journal Cahiers d'art, "I won't exchange The Farm for any painting in the world"[8] Miró later would use the area of Mont-Roig in other works such as Earth and worker or Catalan Landscape (The Hunter).

By late Rosenberg, probably for engagement with Picasso, accepted having it on deposit at home [...] and there was left a few time [...] He made me this statement: "You know that Paris people currently are living in smaller rooms every day, because the crisis is passed.?

[11] After years of paperwork between the family and various public institutions, they did an agreement to make the project an active museum, where the painter's personal items will be displayed in addition to the recreation of their most important works, including The Farm through prints that show the quality and texture of the oil paintings.

[16] All elements of this painting, animals and objects came to be in the form of prototypes symbol that would appear in several works by Miró, for example one of the most common is the ladder representing evasion.

The barking dog, the rabbit, the snail, the cock, the donkey, the dove, the pail, the watering can, the wagon, the plow, the dozens of farm implements, the farmer's wife, the baby by the wash trough, are each suspended in the shadowless clarity of a metaphysical illumination — it is the kind of light one gets through an optical instrument.

It is as though the artist had intermixed, in a single work, the illusory space of traditional landscape with the shallow space of Cubism, so that everything is on the surface and at the same time bears no relation to the surface, which, after all, is not part of the landscape...No one who knows great painting can look at it without sensing the divided consciousness and the aesthetic indeterminacy of an artist who sank into his art the oppositions of his vision: Catalan and Parisian, traditionalist and Cubist, naif and cosmopolite.

"[18] Several historians and art critics have given their opinion on this reference work: It comes completely perfect Miró, connects for a moment with the statement, which is prayer, Maragall: why another cell, if this land is so beautiful?

In it, the roosters argue the lyricism, the tree raises the strength of the instinct to drink the astral light, which is not known whether the sun or the moon.

Miró carried out with discretion and a perfect means of incredible accuracy, poetic and artistic experience that will raise the limits of the painting and the heart of this whole imaginary this truly surreal reality, the surrealists did not get to know and they rub only the periphery.

It was through this new vocabulary of signs that Miró was finally realize his poetic conception of the Catalan countryside, detached from politics and debates about the cultural situation of modern art.

At a time when the beleaguered and vanguard estaba where the idea of the Mediterranean was used to reinforce political positions, ideological and rhetorical, Miró tried to consolidate a new kind of alliance between form and content in their archetypal images of a Catalonia primitive.