Emerging Light - Remedios Varo
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Description
A surrealist composition by Remedios Varo featuring an ethereal figure holding a lamp, rendered in warm, textured tones of ochre and sienna.
Remedios Varo created this work during her period of exile in Mexico, where she developed a distinct visual language. The painting features a solitary, ethereal figure draped in a garment that appears to be composed of organic, leaf-like or crystalline structures. This figure holds a small lamp, casting a singular point of illumination against a textured, monochromatic background of deep ochre and burnt sienna.
The composition relies on a vertical orientation, drawing the eye from the figure's steady gaze down to the floorboards. A small, disembodied face peers from a dark opening in the floor, creating a sense of mystery and psychological tension. Varo often employed such motifs to explore themes of internal discovery, alchemy, and the search for hidden knowledge. Her technique involves precise brushwork and a meticulous application of paint, which gives the surface a tactile quality reminiscent of ancient parchment or weathered stone.
Unlike many of her contemporaries who focused on dream-like spontaneity, Varo approached her canvases with the rigour of a scientist or a mystic. The figure in this piece seems to be in a state of transition, moving between states of being or perhaps emerging from a subterranean realm. The use of a limited, warm colour palette unifies the composition, allowing the focus to remain on the enigmatic interaction between the standing figure and the presence below. This work reflects the artist's interest in esoteric traditions and her ability to construct complex, self-contained narratives within a single frame. The stillness of the scene invites the viewer to consider the nature of the light being carried and the identity of the figure emerging from the shadows.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
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Care & Cleaning
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- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Emerging Light - 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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