My friend Agustin Lazo - Remedios Varo
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Descrizione
A surrealist oil painting by Remedios Varo, featuring a mysterious tower, mechanical elements, and figures within a dense, dreamlike forest.
Remedios Varo, a Spanish artist who spent much of her career in Mexico, created this work in 1947. The painting depicts a central, tower-like structure topped with a windmill, situated within a dense, tangled forest. A figure stands at the entrance of the tower, holding a torch that illuminates the interior, which features a chequered floor and mechanical apparatus. To the right, another figure balances on a single-wheeled vehicle, adding to the dreamlike quality of the scene. Several bird-like creatures fly around the tower, their forms blending with the surrounding foliage.
Varo is known for her precise, meticulous technique, which often involves thin, controlled brushstrokes to render fantastical subjects. Her work frequently incorporates themes of alchemy, science, and mysticism, presented through a lens of personal narrative. The composition is balanced, with the verticality of the tower providing a clear anchor for the viewer. The colour palette is dominated by earthy tones, including browns, ochres, and muted greens, which contribute to the mysterious atmosphere of the piece.
This painting reflects the artist's interest in the intersection of the mechanical and the organic. The presence of the windmill and the wheeled vehicle suggests a preoccupation with invention and movement, while the forest setting introduces a sense of the wild or the unknown. Varo's approach to space is both flattened and deep, creating a stage-like environment where her characters perform enigmatic tasks. The work invites observation of its small details, from the texture of the bark on the trees to the specific posture of the figures. It remains a representative example of her ability to construct self-contained, imaginative worlds that operate under their own internal logic.
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Cura e materiali
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My friend Agustin Lazo - 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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