Harmony - Remedios Varo
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Beskrivning
A 1956 Surrealist painting by Remedios Varo depicting a solitary figure composing music within a mysterious, vaulted chamber.
Harmony (1956) is a representative work by Remedios Varo, a Spanish-Mexican artist associated with the Surrealist movement. The composition depicts a solitary figure seated at a desk, engaged in the meticulous arrangement of musical notes and botanical elements upon a series of horizontal wires. This act of creation appears to manifest directly from the walls of the room, where ethereal, ghost-like figures emerge from the plaster to assist in the process.
The setting is a confined, vaulted chamber with a chequered floor, rendered in a muted palette of greys, ochres, and soft greens. Varo employs a precise, almost scientific application of paint, which contrasts with the dreamlike subject matter. The room contains various objects, including a small cabinet, a basin, and a red chest, all contributing to a sense of alchemical or scholarly pursuit. The figure, dressed in neutral tones, maintains a focused expression, suggesting an internal state of concentration rather than external interaction.
Varo often explored themes of isolation, intellectual discovery, and the intersection of science and mysticism. In this work, the act of composing music becomes a physical, architectural process. The presence of the spectral figures suggests a connection between the creator and a hidden, unseen world. The architectural details, such as the vaulted ceiling and the arched doorway, provide a sense of enclosure, reinforcing the theme of the artist as a recluse working within a private, constructed reality. The painting reflects Varo's interest in the esoteric and her ability to translate abstract concepts into tangible, visual narratives through a highly controlled technique.
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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
Harmony - 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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