Centaur Tower - Remedios Varo
Archival giclée
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Description
A surrealist composition by Remedios Varo featuring a mysterious tower inhabited by figures and a centaur, set within a dense, dark forest.
Remedios Varo, a Spanish-born artist who spent her most productive years in Mexico, created this work in 1955. The composition displays her characteristic interest in architectural geometry, alchemy, and the intersection of the mundane with the esoteric. The image depicts a structure that appears to be both a building and a vessel, suspended within a dense, tangled forest.
Inside the upper chamber, three figures engage in a ritualistic or scientific activity around a table. A centaur stands on the exterior roof, observing the scene. The architecture is rendered with precise, clean lines that contrast with the chaotic, organic forms of the surrounding trees. Varo uses a cool, nocturnal blue for the sky and forest, which provides a stark backdrop for the warm, amber glow emanating from the interior of the tower.
Her technique involves thin, meticulous brushwork that creates a smooth surface, typical of her work on masonite. The perspective is slightly distorted, suggesting a dreamlike space where the laws of physics are suspended. The inclusion of mechanical apparatuses, such as the pulley system visible in the upper room, reflects her fascination with invention and the hidden mechanisms of the universe. This work invites the viewer to consider the isolation of the creative process and the search for knowledge in secluded environments. The balance between the rigid, man-made structure and the wild, untamed nature outside creates a tension that is central to Varo's visual language.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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
Centaur Tower - 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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