The Flautist - Remedios Varo
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Description
A surrealist composition by Remedios Varo, featuring an ethereal flautist amidst a mysterious, alchemical environment of floating stones and geometric structures.
Remedios Varo, a Spanish-born artist who spent her most productive years in Mexico, created this work in 1955. The composition features a solitary figure playing a flute, positioned against a dark, textured rock formation. The figure possesses the elongated, ethereal features characteristic of Varo's subjects, with a pale, mask-like face that contrasts against the warm, amber-toned environment.
To the left, a geometric structure rises, rendered with thin, precise lines that suggest a skeletal or architectural framework. This structure appears to interact with floating stone fragments, which are marked with spiral motifs. The atmosphere is dense and hazy, created through Varo's meticulous application of paint, which often involved thin glazes to build up depth and luminosity. The scene evokes a sense of alchemy or esoteric ritual, themes that frequently occupied the artist during her time in Mexico City.
Varo's technique combines precise draughtsmanship with a dreamlike narrative. The interplay between the solid, heavy rock and the delicate, linear construction of the tower creates a tension between the physical world and a constructed, intellectual reality. The warm, golden light emanating from the centre of the composition draws the eye, while the surrounding darkness provides a sense of isolation. This work reflects the artist's interest in science, mysticism, and the occult, presented through a highly personal visual language. The painting remains a clear example of her ability to merge technical rigour with imaginative, otherworldly subject matter, inviting the viewer to consider the relationship between music, architecture, and the natural world.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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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
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- 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
- Keep in a dry, room-temperature space
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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
The Flautist - 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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