Fine Art Poster
From $29
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Garden of Love - Remedios Varo
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Description
A surrealist composition by Remedios Varo featuring a mysterious encounter between a figure in a tower and a bird-headed visitor in a forest.
Remedios Varo, a Spanish-Mexican artist who spent much of her career in Mexico City, created this work in 1962. It belongs to the later period of her career, where she refined her unique visual language of hermetic symbolism and architectural precision. The composition features a solitary, pale figure peering from a window within a tall, narrow structure. Outside, a figure with a bird-like head and a sword stands in a forest of slender, pale trees. The scene is bathed in a cool, teal-toned atmosphere, which contrasts with the warm, ochre tones of the central tower and the figure's yellow tunic.
Varo often employed a technique involving fine, meticulous brushwork, which gives her paintings a smooth, almost enamel-like finish. The trees are rendered with a repetitive, rhythmic quality, creating a sense of enclosure or a dream-like stage. The presence of the bird-headed figure and the floating, red avian forms suggests a narrative rooted in alchemy, mythology, or personal psychological exploration. Varo was known for her interest in esoteric subjects, and her work frequently depicts figures engaged in quiet, mysterious rituals or transitions.
This piece demonstrates her ability to construct a world that feels both grounded in physical reality and detached from it. The architectural elements are rendered with a clear sense of perspective, yet the surrounding environment remains stylised and ethereal. The interaction between the two figures is ambiguous, inviting the viewer to consider the nature of their connection. Varo's work remains distinct within the broader context of twentieth-century art, as she avoided the more aggressive or chaotic tendencies of some of her contemporaries, opting instead for a controlled, meditative approach to the subconscious.
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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
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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
Complete The Look
Garden of Love - Remedios Varo
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Remedios Varo
Varo was named after the Virgin of Remedies, as a remedy for an older sister who had died. Her full name was Maria de los Remedios Alicia Rodriga Varo y Uranga. Her father was an engineer who taught her to draw using his technical drafting tools. Her mother enrolled her in Catholic school in Madrid, which she spent most of her time rebelling against. Both influences appear in the paintings: precision engineering inhabited by mystics.
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.
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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Fine Art Framed
From $89
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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