Au Bonheur des Citoyens - Remedios Varo
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A surrealist masterpiece by Remedios Varo, depicting enigmatic figures on bicycle-like contraptions within a warm, architectural interior.
Remedios Varo, a Spanish-born artist who spent her most productive years in Mexico, created this work in 1958. The painting depicts a dreamlike interior space, identified by the sign as 'Au Bonheur des Citoyens'. Figures with elongated, bird-like forms move through a series of arched corridors on bicycle-like contraptions. The atmosphere is one of quiet, mechanical ritual.
Varo employs a precise, miniaturist technique, using fine brushwork to render the textures of the brick floor, the architectural arches, and the delicate, feathered costumes of the figures. The colour palette is dominated by warm ochres, burnt oranges, and deep browns, which create a sense of subterranean or ancient light. The composition draws the eye through the receding arches, suggesting a space that exists outside of conventional time or geography.
Her work often features themes of alchemy, scientific inquiry, and the transformation of the self. In this piece, the figures appear to be engaged in a collective, perhaps ceremonial, movement. The bicycles, which appear frequently in her oeuvre, act as vehicles for both physical and spiritual transit. The architectural setting feels both domestic and institutional, blurring the lines between a public shop and a private, ritualistic chamber. The attention to detail in the costumes, which seem to merge with the anatomy of the riders, suggests a metamorphosis between human and avian forms. This painting is a characteristic example of Varo's ability to construct hermetic worlds that invite the viewer to decipher their internal logic and symbolic weight.
Política de devoluciones
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Envío
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
Cuidado y materiales
Características específicas
Cada pieza de Solis se fabrica bajo pedido con materiales de calidad de archivo y de galería, diseñados para durar.
- Impresión giclée de calidad de museo para colores intensos y resistentes a la decoloración
- Papel artístico mate de calidad de archivo, con certificación FSC
- Múltiples tamaños y opciones de enmarcado disponibles
- Marcos en negro, madera natural, madera oscura o blanco
- Las impresiones enmarcadas llegan listas para colgar
Cuidado y limpieza
Para mantener su obra de arte en las mejores condiciones:
- Quite el polvo suavemente con un paño suave y seco
- Evite la luz solar directa prolongada
- Nunca utilice limpiadores líquidos sobre la superficie de la impresión o el lienzo
- Manténgala en un lugar seco y a temperatura ambiente
- Manipule las impresiones con las manos limpias y secas
Materiales y tamaños
Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
Au Bonheur des Citoyens - 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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