Visit to the Plastic Surgeon - Remedios Varo
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Beskrivning
A surrealist composition by Remedios Varo depicting a figure approaching a clinic, exploring themes of identity and transformation through precise, dreamlike imagery.
Remedios Varo, a Spanish-Mexican artist, produced this work in 1960. It depicts a figure approaching a building labelled 'Clinica Plastoturgencia'. The architecture is reminiscent of medieval structures, featuring pointed arches and textured, weathered walls. A figure stands before a window, observing a display of an idealised, ethereal female form. This figure, draped in a long, flowing garment, appears to be seeking a transformation or an adjustment to their own appearance.
Varo often utilised her technical skill to explore themes of identity, alchemy, and the human condition. Her work frequently incorporates precise, thin brushwork and a muted, earthy palette that lends a dreamlike quality to the scene. The composition is balanced, drawing the eye towards the interaction between the visitor and the clinical display. The inclusion of text within the painting, a common device in her oeuvre, adds a layer of narrative ambiguity.
This piece reflects the artist's interest in the intersection of science, magic, and personal transformation. The clinical setting is rendered with a sense of mystery rather than cold objectivity. The figure's posture and the veil-like covering suggest a sense of hesitation or introspection. Varo's ability to combine architectural rigour with psychological depth is evident here. The painting invites viewers to consider the motivations behind the pursuit of physical perfection and the societal pressures that influence such desires. Her work remains a distinct contribution to the mid-twentieth-century surrealist movement, characterised by its meticulous detail and philosophical inquiry.
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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
Visit to the Plastic Surgeon - 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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