Mimicry - Remedios Varo
Stampa giclée d'archivio
Le cornici arrivano pronte per essere appese
Pagamento sicuro
Fatto su ordinazione
Descrizione
A surrealist composition by Remedios Varo, depicting a figure merging with their furniture in a quiet, dreamlike interior.
Remedios Varo, a Spanish artist who spent much of her career in Mexico, created Mimicry in 1947. This work displays her characteristic approach to the surreal, where domestic settings become sites of transformation and psychological inquiry. The composition features a central female figure seated in a high-backed chair, her form merging with the furniture itself. Her dress and the upholstery share a pattern, suggesting a literal interpretation of the title. The environment is rendered with precise, thin brushwork, creating a sense of stillness that contrasts with the uncanny nature of the scene.
To the left, a wardrobe stands slightly ajar, emitting a cloud-like substance. A small chair is tethered to the wardrobe by a thin cord, while a cat-like face peers from a hole in the floorboards. To the right, a basin collects a long, flowing ribbon of fabric that rises into the air, defying gravity. These elements suggest a narrative of metamorphosis, where the boundaries between the human subject, the furniture, and the surrounding space are porous. Varo often explored themes of isolation and the search for knowledge, using alchemy and esoteric symbolism to construct her visual language.
Her technique involves a meticulous application of paint, often using fine glazes to achieve a luminous quality. The palette is dominated by warm, earthy tones, which ground the fantastical elements in a recognisable, albeit dreamlike, reality. The spatial arrangement is deliberate, with the figures and objects placed to guide the eye through the room. This piece invites the viewer to consider the relationship between the individual and their environment, questioning the stability of identity in a world where objects and people can blend into one another.
Politica di reso
Poiché ogni stampa è realizzata su ordinazione, non offriamo resi, rimborsi o cambi in caso di ripensamento. Se il tuo ordine dovesse arrivare difettoso, danneggiato o errato, lo sostituiremo gratuitamente: ti basterà contattarci entro 48 ore dalla consegna. Consulta la nostra pagina sui rimborsi per tutti i dettagli.
Spedizione
Spediamo in tutto il mondo, stampando presso il centro di produzione più vicino al tuo indirizzo di consegna. I tempi e i costi di spedizione variano in base alla destinazione: visualizzerai le opzioni disponibili al momento del pagamento.
Produzione
Ogni stampa è realizzata su ordinazione mediante stampa giclée a 12 colori su carta d'archivio certificata FSC. Ideata in Gran Bretagna e stampata presso il centro di produzione più vicino a te per ridurre gli sprechi e velocizzare la consegna.
Cura e materiali
Caratteristiche specifiche
Ogni opera Solis è realizzata su ordinazione con materiali d'archivio di qualità museale, costruiti per durare nel tempo.
- Stampa giclée di qualità museale per colori ricchi e resistenti allo sbiadimento
- Carta fine-art opaca d'archivio, certificata FSC
- Diverse dimensioni e opzioni di cornice disponibili
- Cornici in nero, legno naturale, legno scuro o bianco
- Le stampe con cornice arrivano pronte per essere appese
Cura e pulizia
Per mantenere la tua opera d'arte al meglio:
- Spolvera delicatamente con un panno morbido e asciutto
- Evita l'esposizione prolungata alla luce solare diretta
- Non utilizzare mai detergenti liquidi sulla superficie della stampa o della tela
- Conserva in un ambiente asciutto a temperatura ambiente
- Maneggia le stampe con mani pulite e asciutte
Materiali e dimensioni
Stampa giclée di qualità museale su carta opaca d'archivio certificata FSC, con opzioni di cornice e tela.
- Dimensioni carta: A4, A3, A2, A1, A0 e B2 (50×70 cm)
- Tela: da XS (20×30 cm) a Large (60×90 cm)
- Cornici: nero, legno naturale, legno scuro o bianco
Mimicry - 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.
Perché Scegliere Noi?
Garanzia di consegna senza danni
Spedizione rapida
Materiali di qualità museale
Potrebbe Interessarti Anche