art & photography

Remedios Varo – Les Feuilles Mortes


By Mark Newton

Born in 1981, live in the UK. I write about strange things.

8 replies on “Remedios Varo – Les Feuilles Mortes”

Goodness. Those paintings are extraordinary: like Dali met Gaudi and went absinthe-drinking with Jean Cocteau.

They’re beautiful. How did you come across her work – was it recent, or something you’ve been keeping secret for too long!

Very nice! It immediately made me think of Leonora Carrington. Then I checked the Wikipeida entry for Remedios Vara, and it turns out they both knew each other in Mexico. Check out Leonora also if you like this type of art. I saw a great exhibit of her work a while back, amazing stuff.

Hi Dalia,

Unfortunately I can’t seem to find anything specifically about this painting. There seems to be a lot of information about Remedios Varo herself, but not this piece. Sorry I can’t be of more help!

Based on the comments below, I also wanted to say that Remedios and Leonora were VERY good friends:
Remedios Varo
Remedios Varo (1908 – 1963) was a Spanish-Mexican surrealist painter. She was born in Anglés Cataluna, Spain in 1908 and died from a heart-attack in Mexico City in 1963. During the Spanish Civil War she fled to Paris where she was largely influenced by the surrealist movement. She met in Barcelona the french surrealist poet Benjamin Péret and became his wife. She was forced into exile from Paris during the Nazi occupation of France and moved to Mexico City at the end of 1941. She initially considered Mexico a temporary haven, but would remain in Latin America for the rest of her life.
In Mexico she met native artists such as Frida Kahlo and Diego Rivera. However, her strongest ties would be to other exiles and expatriates, and especially her extraordinary friendship with the English painter Leonora Carrington. Her last major relationship would be with Walter Gruen, an Austrian who had endured concentration camps before escaping Europe. Gruen believed fiercely in Varo, and gave her the support that allowed her to fully concentrate on her painting.
After 1949 Varo developed into her mature and remarkable style, which remains beautifully enigmatic and instantly recognizable. She often worked in oil on masonite panels she prepared herself. Although her colors have the blended resonance of the oil medium, her brushwork often involved many fine strokes of paint laid closely together – a technique more reminiscent of egg tempera. She died at the height of her career.
Her work continues to achieve successful retrospectives at major sites in Mexico and the United States.

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