Miró developed life-long friendships with his fellow Surrealist artists André Masson, Max Ernst and Jean Arp, as well as the poets André Breton, Paul Eluard and Michel Leiris. His work of the mid 1920s reflects their shared fascination with the subconscious as an alternative to the rational, and its manifestation in the juxtaposition of unrelated objects. In 1926–7 Miró made a series that he called the Animated Landscapes, in which he revisited the imagery of the early Mont-roig paintings through the lens of Surrealism. Mysterious night-time activities are shown in very simplified form within large fields of colour. ‘I don’t think it makes sense to give more importance to a mountain than to an ant’, he told a journalist at the time. By echoing the works made a decade before, it is evident how radical Miró’s pictorial language had become.