Tránsito en espiral - Remedios Varo
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A surrealist masterpiece by Remedios Varo, depicting a circular city with winding canals and cloaked figures in a rhythmic, dreamlike composition.
Tránsito en espiral, painted in 1962, is a representative work by the Spanish-Mexican artist Remedios Varo. The composition depicts a circular, fortified city constructed around a central tower. Canals wind through the architecture in a spiral pattern, carrying small, boat-like vessels navigated by cloaked figures. The scene possesses a dreamlike quality, typical of Varo's mature period in Mexico City, where she combined technical precision with esoteric and alchemical themes.
The colour palette relies on warm, earthy ochres and burnt oranges, which contrast against the darker, moody sky. Varo employs a meticulous technique, using fine brushwork to define the architectural elements and the rhythmic movement of the water. The figures, often solitary or engaged in mysterious tasks, suggest a narrative of internal journeying or cyclical time. The geometry of the city, with its concentric walls and towers, creates a sense of enclosure and order, yet the presence of the water and the boats introduces a fluid, transitional element.
Varo's work often draws upon her interest in mysticism, science, and medieval imagery. In this piece, the architectural structure functions as a stage for a quiet, ritualistic activity. The repetition of the circular forms and the consistent scale of the buildings contribute to the sense of a self-contained universe. The lighting appears to emanate from within the city walls, casting soft shadows and giving the stone surfaces a tactile quality. This print captures the atmospheric depth and the precise, imaginative detail of the original oil on masonite painting, offering a glimpse into the unique visual language Varo developed during her years in exile.
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
Tránsito en espiral - 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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