Lunar Reflection - Remedios Varo
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A surrealist painting by Remedios Varo featuring a glowing, geometric form suspended in a dark, red-toned forest.
Remedios Varo, a Spanish-born artist who spent her most productive years in Mexico, created this work in 1959. It displays her characteristic precision and interest in esoteric themes. The composition is dominated by a monochromatic palette of deep reds and burnt oranges, which creates an atmosphere of mystery and nocturnal stillness.
At the centre of the image, a luminous, swirling form appears to float among the trees. This object resembles a geometric abstraction of light or energy, rendered with fine, delicate brushwork that contrasts with the surrounding forest. The trees themselves are skeletal and spindly, their branches reaching upward like fingers against the dark, textured sky. To the left, a tall, narrow structure stands near a small pool of water, where a crescent moon is reflected. A solitary figure emerges from the base of this tower, adding a sense of narrative ambiguity common in Varo's output.
Varo often combined scientific curiosity with mystical symbolism. Her technique involved thin layers of paint applied with meticulous care, resulting in a smooth, enamel-like surface. This approach allowed her to achieve the ethereal quality seen in the central glowing form. The work invites the viewer to consider the relationship between the physical world and the unseen forces that Varo frequently explored in her paintings. By placing a geometric, almost mathematical shape within a natural setting, she bridges the gap between rational observation and dreamlike intuition. The result is a quiet, contemplative scene that avoids overt drama in favour of a steady, internal logic.
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
Lunar Reflection - 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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