Au Bonheur des Citoyens - Remedios Varo
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Beschreibung
A surrealist masterpiece by Remedios Varo, depicting enigmatic figures on bicycle-like contraptions within a warm, architectural interior.
Remedios Varo, a Spanish-born artist who spent her most productive years in Mexico, created this work in 1958. The painting depicts a dreamlike interior space, identified by the sign as 'Au Bonheur des Citoyens'. Figures with elongated, bird-like forms move through a series of arched corridors on bicycle-like contraptions. The atmosphere is one of quiet, mechanical ritual.
Varo employs a precise, miniaturist technique, using fine brushwork to render the textures of the brick floor, the architectural arches, and the delicate, feathered costumes of the figures. The colour palette is dominated by warm ochres, burnt oranges, and deep browns, which create a sense of subterranean or ancient light. The composition draws the eye through the receding arches, suggesting a space that exists outside of conventional time or geography.
Her work often features themes of alchemy, scientific inquiry, and the transformation of the self. In this piece, the figures appear to be engaged in a collective, perhaps ceremonial, movement. The bicycles, which appear frequently in her oeuvre, act as vehicles for both physical and spiritual transit. The architectural setting feels both domestic and institutional, blurring the lines between a public shop and a private, ritualistic chamber. The attention to detail in the costumes, which seem to merge with the anatomy of the riders, suggests a metamorphosis between human and avian forms. This painting is a characteristic example of Varo's ability to construct hermetic worlds that invite the viewer to decipher their internal logic and symbolic weight.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Au Bonheur des Citoyens - Remedios Varo
Artist Biography
Remedios Varo
She graduated from the Royal Academy of Fine Arts of San Fernando in 1930, one of the few women in her class. In Barcelona she fell in with the Surrealists and, through them, with the poet Benjamin Peret, who became her partner. When Paris fell, she was jailed on suspicion of espionage. After her release she and Peret boarded one of the last ships allowed to leave France, arriving in Mexico in 1941.
In Mexico City she became inseparable from the English Surrealist Leonora Carrington. Together with the photographer Kati Horna, the three were called the Three Witches. They attended meetings of Gurdjieff and Ouspensky followers, studied alchemy and Jungian dream theory, and put ink in tapioca pearls to serve as caviar at dinner parties for Octavio Paz.
She did not paint prolifically until the last thirteen years of her life, once she was financially stable and free of wartime displacement. The paintings from this period are meticulous: tiny figures in architectural spaces that obey their own physics, conducting experiments with starlight or weaving the fabric of the universe from threads pulled out of the air.
Her posthumous retrospective at the Museum of Modern Art in Mexico City in 1971 drew more visitors than shows by Diego Rivera or David Alfaro Siqueiros. She had died of a heart attack in 1963, at fifty-four, at the peak of her working life.
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