Embroidering the Earth's Mantle - Remedios Varo
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Beschreibung
A surrealist masterpiece by Remedios Varo, depicting figures weaving the fabric of the world from within a mystical tower.
Remedios Varo, a Spanish-born artist who spent her most productive years in Mexico, created this work in 1961. It forms part of a triptych alongside 'Towards the Tower' and 'The Flight'. The painting depicts a group of figures seated within a high tower, engaged in the act of weaving the fabric of the world. The golden thread they produce flows out from the tower, transforming into the physical landscape of the earth below, complete with rivers, mountains, and small settlements.
The composition is structured around a central, glowing interior space, contrasting with the darker, atmospheric exterior. Varo employs a precise, almost miniaturist technique, using fine brushwork to render the textures of the fabric and the architectural details of the tower. The figures, with their elongated features and focused expressions, reflect the artist's interest in alchemy, mysticism, and the idea of a hidden, cosmic order. The central figure, standing and reading from a book, appears to direct the process, suggesting a controlled, ritualistic creation of reality.
Varo's work often features themes of isolation, intellectual pursuit, and the intersection of the mechanical with the magical. The use of a warm, ochre-heavy palette creates a sense of timelessness, while the precise geometry of the tower provides a stable frame for the fantastical narrative. The painting invites the viewer to consider the relationship between human agency and the natural world, presenting creation as a deliberate, collaborative craft. By visualising the world as a woven construct, Varo explores the boundaries between internal imagination and external existence. This piece remains a primary example of her ability to synthesise complex philosophical concepts into highly detailed, evocative visual narratives.
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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
Embroidering the Earth's Mantle - 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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