Caravan - Remedios Varo
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Beschreibung
A surrealist composition by Remedios Varo featuring a mobile, mechanical dwelling traversing a desolate landscape under a starlit sky.
Caravan, painted by Remedios Varo in 1957, displays the artist's characteristic fusion of mechanical invention and mystical narrative. Varo, a Spanish-born artist who spent her most productive years in Mexico, developed a unique visual language that often features solitary figures engaged in esoteric tasks within architectural structures. In this work, a mobile, conical dwelling moves across a desolate, textured terrain. The structure itself functions as a vehicle, complete with wheels and a wind-powered mechanism that connects to the roof.
Inside the illuminated interior, a figure sits at a piano, suggesting a domestic or ritualistic activity occurring in transit. A second figure, dressed in a hooded cloak, operates the steering mechanism from an external seat. The background is dominated by a dark, atmospheric sky filled with stippled light effects, which Varo achieved through meticulous application of paint. The contrast between the warm, glowing interior of the carriage and the cold, expansive exterior creates a sense of isolation and quiet purpose.
Varo's technique involves thin, precise brushwork that gives her surfaces a smooth, enamel-like quality. Her interest in alchemy, science, and medieval imagery is evident in the construction of the vehicle and the overall composition. The work avoids traditional perspective, instead favouring a flattened, stage-like space that directs the viewer's attention to the central mechanical object. This piece reflects the artist's preoccupation with themes of travel, transformation, and the search for knowledge, presented through a lens of quiet, dreamlike logic. The muted, earthy palette is punctuated by the golden light emanating from the carriage, drawing the eye to the internal scene. Varo's work remains distinct for its technical precision and its ability to render complex, internal states of mind as tangible, physical realities.
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Fertigung
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
Caravan - 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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