The Call - Remedios Varo
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Beskrivning
A surrealist composition by Remedios Varo, featuring a luminous figure navigating a mysterious, textured corridor.
Remedios Varo painted The Call in 1961, during her final years in Mexico City. The composition depicts a solitary, luminous figure moving through a narrow, stone-walled corridor. The central character wears a flowing orange robe, and her hair extends upwards in a singular, flame-like plume that reaches toward a small, glowing orb in the ceiling. She holds a small object in her hand, suggesting a moment of alchemical or mystical discovery.
The surrounding walls are textured with vertical, organic striations that resemble both geological formations and draped fabric. Figures emerge from these walls, appearing as silent observers or manifestations of the architecture itself. Varo uses a precise, delicate brushwork technique, often associated with her background in technical drawing and her interest in esoteric subjects. The lighting is internal to the scene, emanating from the central figure and casting soft shadows across the geometric floor pattern.
This work reflects Varo's interest in themes of transformation, solitude, and the search for hidden knowledge. Her approach to the canvas involves a meticulous layering of glazes, which creates a sense of depth and atmospheric density. The architectural setting functions as a psychological space, where the boundaries between the physical environment and the internal state of the subject become blurred. The muted, earthy tones of the stone corridor contrast with the warmth of the central figure, drawing the eye to the narrative action. Varo's work remains distinct for its synthesis of scientific precision and dream-like imagery, offering a window into a private, symbolic world that avoids simple interpretation.
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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
The Call - 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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