Vegeta Vampires - Remedios Varo
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Beskrivning
A surrealist composition by Remedios Varo depicting three elongated, orange-clad figures engaged in a ritualistic meal within an enclosed space.
Remedios Varo, a central figure of the Mexican Surrealist movement, created Vegeta Vampires in 1962. The work depicts three elongated, ethereal figures seated at a small circular table within a dimly lit, architectural space. These beings, draped in textured, orange-hued garments that resemble foliage or fibrous organic matter, possess tall, pointed headgear and sharp, avian-like features. They consume their meal through thin straws, drawing sustenance from fruit placed before them. Two small cockerels are tethered to the legs of the stools, adding a sense of domestic absurdity to the scene.
Varo often employed a meticulous, glazing technique that allowed for the fine rendering of textures and light. The composition is balanced and symmetrical, drawing the eye toward the central table. The atmosphere is quiet and hermetic, characteristic of her later works produced in Mexico City. The figures appear to exist in a state of suspended animation, engaged in a ritualistic act that defies conventional logic. The background features arched structures and a suspended, cage-like element, which reinforces the sense of an enclosed, private world.
This painting reflects Varo's interest in alchemy, mysticism, and the transformation of matter. By depicting these creatures as 'vegetable vampires', she explores the boundaries between the plant and animal kingdoms. The work invites the viewer to consider the nature of nourishment and the strange, hidden lives of the inhabitants of her imagined realms. Her precise brushwork and muted, earthy colour palette create a dreamlike quality that is both unsettling and precise. The painting remains a primary example of her ability to weave complex, symbolic narratives into highly structured, painterly compositions.
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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
Vegeta Vampires - 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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