Lady Godiva - Remedios Varo
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Beschreibung
A surrealist interpretation of the Lady Godiva legend by Remedios Varo, featuring her signature elongated figures and alchemical symbolism.
Remedios Varo, a Spanish-Mexican artist, produced this work in 1956. It represents her characteristic approach to the Surrealist tradition, blending alchemical symbolism with a distinct, dreamlike narrative. The composition features a central figure, a reimagining of the legendary Lady Godiva, who is depicted riding a unicycle-like device. Her form is elongated and ethereal, with a mask-like face that suggests a detachment from the physical world. The figure holds a flaming torch, which casts a warm, amber glow across the scene, contrasting with the cooler tones of her attire.
Varo often utilised architectural elements to frame her subjects, and here, a peering face in the background adds a sense of voyeurism or hidden observation. The presence of a fish in the lower corner introduces an element of the absurd, a common feature in her oeuvre. The application of paint is precise, with fine brushwork that creates a smooth, almost luminous surface. The colour palette is dominated by warm ochres, oranges, and deep browns, which contribute to the mysterious atmosphere of the piece.
This work reflects Varo's interest in the intersection of science, mysticism, and the subconscious. She moved to Mexico in 1941, where she developed her mature style. Her paintings frequently explore themes of isolation, transformation, and the search for knowledge. By placing a historical figure within such a fantastical, mechanical setting, Varo invites the viewer to reconsider traditional narratives through a lens of personal mythology. The technical execution demonstrates her mastery of light and shadow, which she used to define the spatial relationships within her imagined worlds. This print captures the specific textures and tonal variations of the original masonite panel, providing a clear view of the artist's meticulous technique.
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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
Lady Godiva - 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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