but as a young man in paris, he joined with friends like max ernst and jean arp in the emerging surrealist movement of the 1920s. in his painting "the farm," miro's characteristic symbols and themes began to appear: serpenne shapes, checkeoard patterns, finitepace represented by the moon or a star. in 1922, he painted "the farmer's wife," the ancestress of countless female sbols that also became a continuing motif in miro's art. in 1924, his art broke free of gravitational constraints in theurrealc world of "harlequin's carnival." over the years, he developed his own personal symbolism, and in the 1950s, the scal his art grew with such works as a mural at harrd university and "the wall ofhe sun" for unesco in pas. as his work grew in size, miro continued what he termed "a process of simplification." he stated, "little by little, i have managed to reach a point at which i use no more than a small number of forms d colors." this process found a culminating expression the maquette for the tial gallery's tapestry. miro entered the project with much enthusim, stating, "i'll go into this and fig