Eyes on the Table - Remedios Varo
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Beskrivning
A surrealist composition by Remedios Varo featuring a pair of spectacles and detached eyes resting on a wooden table.
Remedios Varo, a Spanish-born artist who spent much of her career in Mexico, produced this work during her early period. The composition presents a wooden table suspended in an ambiguous, sparse environment. Upon the surface sit a pair of spectacles with exaggerated, lash-like frames, accompanied by two detached human eyes. The scene rejects traditional perspective, creating a sense of displacement common in Varo's output.
The colour palette relies on muted ochres, browns, and deep shadows, which contrast with the pale blue of the irises. Below the table, a patch of grass-like strokes adds a further layer of incongruity to the setting. Varo often explored themes of perception, alchemy, and the uncanny, and this piece functions as a visual riddle. By isolating these objects, she invites the viewer to consider the act of seeing itself, removed from the context of a human face or a functional setting.
This work reflects the influence of European Surrealist circles, where Varo moved before her migration to Mexico. Her technical precision, visible in the controlled application of gouache, allows for a clean, graphic quality. The lack of background detail forces the eye to focus entirely on the relationship between the spectacles and the eyes, suggesting a narrative of observation or perhaps a loss of identity. It is a quiet, unsettling image that demonstrates her ability to imbue everyday objects with psychological weight. The work remains a clear example of her early experimentation with the irrational, a thread that would continue through her later, more complex narrative paintings.
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Care and materials
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
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- 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
- Handle prints with clean, dry hands
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
Eyes on the Table - 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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