Quiador - Remedios Varo
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Beschreibung
A surrealist work by Remedios Varo depicting a mysterious figure in a golden pod, accompanied by owls, travelling through a snowy forest.
Remedios Varo, a Spanish-born artist who spent her most productive years in Mexico, created Quiador in 1960. The work displays her characteristic precision and interest in esoteric themes. A central figure, encased within a pod-like structure, moves through a dense, wintry forest. The figure wears a tall, conical hat and a long coat, accompanied by two owls. The composition relies on a contrast between the muted, monochromatic tones of the snowy woods and the warm, golden-orange hue of the central vessel.
Varo often employed techniques such as frottage and decalcomania to generate textures, which she then refined with fine brushwork. Her interest in alchemy, science, and mysticism informs the narrative quality of the piece. The figure appears to be a traveller or a guide, navigating a space that feels removed from ordinary time. The owls, symbols of wisdom and nocturnal sight, reinforce the sense of an otherworldly journey. The verticality of the trees mirrors the elongated form of the central pod, creating a sense of rhythmic movement through the frame.
This painting reflects the artist's meticulous approach to her craft. Varo used thin glazes to build up the surface, resulting in a smooth, enamel-like finish. The attention to detail in the feathers of the owls and the texture of the bark demonstrates her technical discipline. By placing a solitary, enigmatic subject against a vast, repetitive background, she invites the viewer to consider the isolation and purpose of the traveller. The work remains a clear example of her ability to blend technical rigour with imaginative, dream-like subject matter, characteristic of her mature period in Mexico City.
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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
Quiador - 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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