The Pollution of the Water - Remedios Varo
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Beskrivning
A surrealist composition by Remedios Varo featuring a skeletal figure moving through a market stall, exploring themes of mortality and environmental concern.
Remedios Varo, a Spanish-born artist who spent her most productive years in Mexico, created this work in 1959. It belongs to a period where her practice shifted towards complex, allegorical narratives. The composition features a skeletal figure, reminiscent of traditional depictions of death, moving through a market stall covered by white fabric awnings. The figure wears a wide-brimmed hat and a flowing cloak, carrying a scythe. The market stalls are laden with produce, including tomatoes, cabbages, and melons, rendered with a precise, almost clinical attention to form.
Varo often employed a meticulous technique, using fine brushes to apply oil paint in thin layers. This approach allowed her to achieve a smooth, enamel-like surface that contrasts with the unsettling nature of her subject matter. The scene is bathed in a warm, earthy light, which creates a sense of stillness. The presence of the skeletal figure introduces a jarring element of mortality into an otherwise mundane setting. The title suggests a commentary on environmental degradation, a theme that occupied Varo during her later years. Her work frequently combines scientific curiosity with mystical symbolism, resulting in images that feel both calculated and dreamlike.
The spatial arrangement is structured by the geometric lines of the market awnings, which draw the eye across the canvas. Varo uses these architectural elements to frame the central figure, isolating it against the abundance of the market. The contrast between the organic shapes of the fruit and the rigid, skeletal form of the figure creates a visual tension. This piece demonstrates her ability to weave social critique into a highly personal, symbolic visual language. It remains a clear example of her mature style, where technical precision meets a preoccupation with the human condition and the state of the natural world.
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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 Pollution of the Water - 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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