Farewell - Remedios Varo
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Beschreibung
A haunting surrealist composition by Remedios Varo, featuring two isolated figures within a labyrinthine, red-hued architectural space.
Farewell (1958) is a characteristic work by the Spanish-Mexican artist Remedios Varo. The composition depicts a labyrinthine architectural space dominated by a monochromatic, intense red palette. Two figures are positioned within separate archways, their backs turned to one another, suggesting a sense of separation or departure. The geometric precision of the brickwork and the repetitive, vaulted structures create a dreamlike, claustrophobic atmosphere typical of Varo's mature period in Mexico City.
Varo employs a meticulous technique, applying thin layers of oil paint to masonite to achieve a smooth, luminous surface. The light sources are ambiguous, casting long, distorted shadows that snake across the tiled floor, connecting the two figures in a visual narrative of distance. A small cat peers from a dark recess, adding a touch of the uncanny that frequently appears in her work. The architectural elements, reminiscent of medieval cloisters or alchemical laboratories, reflect her interest in esoteric knowledge, science, and the subconscious mind.
Unlike many of her contemporaries, Varo focused on internal psychological states rather than external reality. The figures are often solitary, engaged in mysterious tasks or transitions. In Farewell, the physical environment acts as a metaphor for emotional states. The rigid, repetitive nature of the arches contrasts with the fluid, organic shadows, creating a tension between order and the unknown. This work demonstrates her ability to construct complex, narrative-driven spaces that invite the viewer to interpret the underlying emotional logic of the scene. The painting remains a primary example of her unique contribution to mid-twentieth-century surrealist art, where technical precision meets the irrationality of the dream world.
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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
Farewell - 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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