Cosmic Energy - Remedios Varo
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Beschreibung
A surrealist painting by Remedios Varo featuring ethereal figures and a cat emitting sparks, rendered in a muted, atmospheric style.
Cosmic Energy (1955) is a characteristic example of the work of Remedios Varo, a Spanish-Mexican artist who spent much of her career in Mexico City. The composition depicts a confined, corner-like space where two ethereal, ghost-like figures emerge from the textured walls. One figure reaches out to touch a ginger cat, which emits a burst of star-like sparks from its tail. The second figure, positioned to the right, holds a violin, suggesting a connection between music, feline energy, and the unseen forces of the universe.
Varo often employed a meticulous, glazing technique that allowed for fine detail and a sense of luminosity. Her work frequently explores themes of alchemy, mysticism, and the intersection of science with the occult. The figures in this piece possess a translucent quality, blending into the architectural surroundings as if they are part of the structure itself. The muted, earthy palette of browns and greys provides a neutral backdrop, allowing the bright, sharp sparks emanating from the cat to draw the eye immediately.
This painting reflects Varo's interest in the domestic sphere transformed into a site of magical occurrence. By placing these mysterious events within a simple room, she invites the viewer to consider the hidden potential within everyday life. The precise brushwork and the deliberate, almost scientific arrangement of the elements are hallmarks of her mature style. The work remains a compelling study of how Varo synthesised her personal experiences with her fascination for esoteric knowledge, creating a visual language that is both precise and dreamlike.
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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
Cosmic Energy - 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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