Towards the Tower - Remedios Varo
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Beschreibung
A surrealist narrative painting by Remedios Varo, depicting a mysterious procession of cyclists moving towards an imposing brick tower.
Towards the Tower, painted in 1960, is a characteristic example of the mature style of Remedios Varo. The composition depicts a procession of figures, each mounted on a bicycle, moving in unison towards a tall, brick structure. The figures possess elongated features and identical red hair, suggesting a collective identity or a ritualistic journey. The lead figure, dressed in a dark habit and hat, rides a vehicle that incorporates a crescent moon shape, while the others follow on more conventional cycles. A solitary male figure, carrying a large sack, pedals alongside the group on a tall, spindly bicycle.
Varo employs a precise, almost miniaturist technique, using fine brushwork to render the texture of the brickwork and the delicate features of the riders. The colour palette is dominated by earthy ochres, burnt oranges, and deep shadows, which contribute to the dreamlike, atmospheric quality of the scene. The architecture of the tower is rigid and imposing, contrasting with the fluid, rhythmic movement of the cyclists. Birds are scattered throughout the composition, adding a sense of motion and mystery to the quiet, sombre environment.
This work reflects the artist's interest in alchemy, esoteric knowledge, and the exploration of the subconscious. Varo often populated her paintings with figures engaged in enigmatic tasks, suggesting narratives that remain open to interpretation. The repetition of the figures and the architectural geometry create a sense of order, yet the underlying meaning remains elusive. The painting is a study in controlled composition, where every element, from the placement of the birds to the posture of the riders, serves the overall narrative structure. It is a work that invites close observation, revealing small details that reward the viewer upon repeated viewings.
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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
Towards the Tower - 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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