Towards the Tower - Remedios Varo
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
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.
Política de devoluciones
Debido a que cada impresión se realiza bajo pedido, no ofrecemos devoluciones, reembolsos ni cambios por cambio de opinión. Si su pedido llega defectuoso, dañado o incorrecto, lo reemplazaremos sin cargo alguno; solo contáctenos dentro de las 48 horas posteriores a la entrega. Consulte nuestra página de reembolsos para obtener todos los detalles.
Envío
Realizamos envíos a todo el mundo, imprimiendo en el centro de producción más cercano a su dirección de entrega. Los plazos y costes de envío varían según el destino; verá las opciones disponibles para usted al finalizar la compra.
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
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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