Microcosm - Remedios Varo
Archival Pigmentdruck
Rahmen werden montagefertig geliefert
Sichere Kaufabwicklung
Auf Bestellung gefertigt
Beschreibung
A 1959 surrealist work by Remedios Varo, depicting a mystical connection between an earthly temple and celestial vessels through fine, alchemical detail.
Remedios Varo, a Spanish-born artist who spent much of her career in Mexico, created Microcosm in 1959. The composition displays her characteristic interest in alchemy, mysticism, and the intersection of scientific inquiry with the esoteric. The work is divided into two distinct zones: a terrestrial structure and an ethereal, celestial realm above.
At the base, a geometric, temple-like building sits within a dense forest. Figures draped in flowing robes emerge from the structure, while various animals occupy the lower chambers. This architectural form acts as a grounding element, suggesting a laboratory or a sanctuary for hidden knowledge. Above this, the atmosphere transforms into a swirling, golden-hued expanse. Three distinct, boat-like vessels float within this upper region, each carrying a solitary figure. These vessels are connected by delicate, thread-like lines to the roof of the building below, implying a transfer of energy or information between the earthly and the cosmic planes.
Varo employs a meticulous technique, using fine brushwork to render the textures of the forest, the robes, and the mechanical components of the floating vessels. The colour palette is dominated by warm, autumnal tones of ochre, burnt orange, and deep brown, which contribute to the sense of an ancient, alchemical process. The painting reflects Varo's fascination with the idea that the individual is a small universe, or microcosm, mirroring the larger cosmos. Her work often features such hermetic narratives, where characters engage in mysterious, ritualistic tasks that defy simple explanation. By combining precise, almost architectural draughtsmanship with dreamlike subject matter, Varo creates a visual language that invites the viewer to contemplate the hidden mechanisms of existence.
Rückgaberecht
Da jeder Druck auf Bestellung gefertigt wird, bieten wir keine Rücksendungen, Rückerstattungen oder Umtausche aufgrund von Meinungsänderungen an. Sollte Ihre Bestellung fehlerhaft, beschädigt oder falsch ankommen, ersetzen wir sie kostenlos – kontaktieren Sie uns einfach innerhalb von 48 Stunden nach Lieferung. Vollständige Details finden Sie auf unserer Rückerstattungsseite.
Versand
Wir versenden weltweit und drucken im Produktionszentrum in der Nähe Ihrer Lieferadresse. Lieferzeiten und -kosten variieren je nach Zielort – die Ihnen zur Verfügung stehenden Optionen werden Ihnen an der Kasse angezeigt.
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
Microcosm - 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.
Warum uns wählen?
Garantie für beschädigungsfreie Lieferung
Schneller Versand
Museumsreife Materialien
Das könnte Ihnen auch gefallen