Lady Godiva - Remedios Varo
Giclée de archivo
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Pago seguro
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Descripción
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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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.
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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
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- Quite el polvo suavemente con un paño suave y seco
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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
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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