![]() ![]() She attended the Royal Academy of Fine Arts of San Fernando in Madrid, later moving to Barcelona and joining the Logicophobistas-a kind of Spanish offshoot of the France-centered Surrealists (whose manifesto André Breton developed in 1924). ![]() Like many of the Surrealists, she lived through dramatic upheavals across Europe. As witchcraft continues to make a comeback as an antidote to our chaotic times, Varo’s mystical paintings particularly resonate today. Along with the rest of the Surrealists, Varo invoked the occult to challenge viewers’ understandings of their own psychologies, bodies, and latent powers. Such dreamlike transformations became part of Varo’s unique modernist mythology. These types of depictions, typical throughout Varo’s oeuvre, are simultaneously ghoulish, attractive, and delicately rendered. A nearby machine resembles an insect, its hand depositing paint onto a palette. ![]() Similarly, the central figure in The Creation of the Birds (1958) appears to be a genderless human-owl hybrid. ![]() The shapes of her arms and hands echo those of the armrests, while the skin of her face and neck adopts the fabric’s design. In Mimicry (1960), for example, a woman sits in a patterned chair. In Remedios Varo’s fantastical, Surrealist paintings, bodies merge with objects and animals to create alluring new hybrid figures. ![]()
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