[Spanish born Mexican Surrealist Painter, 1908-1963]
Remedios Varo was born in 1908 in Spain, as a small child she began to express herself by doing paintings, portrait paintings, custom oil paintings, etc. In her eagerness to show the whole world, she was able to made a cosmos of poetry and imagination. Varo's father was a superb Hydraulic Engineer, and to a great extent the person who influenced her artwork mostly. At a young age, Varo learned how to use the engineering instruments from her father. The instruments transmitted the fantasies. Large number of her paintings are the perfect reflection of those years. , the symbolic figures represents exact solitude and a rebellious character of her, she was not allowed to freely express herself often.
At the age of 15, Varo was admitted in the Academy of San Fernando situated in Madrid. The artistic atmosphere there allowed her to learn about the surrealist movement. At that time, surrealism was very fashionable, she was greatly attracted to the idea of expressing her emotions using symbols and figures. She met and then married a Surrealist poet Benjamin Peret in Barcelona. Varo moved in Paris to become part of a more avant-garde milieu.
Settled in Paris with Peret at the end of the Spanish Civil War and was active in Surrealist circles there between 1937 to 1939. From years before with Varo’s extraordinary talent, she combined her learned technique. It was a perfect formula. Other famous surrealist artists include Roberto Matta, Leonora Carrington, Frida Kahlo and Gunther Gerzso.
Forced to flee France for political reasons. Remembering from her childhood trips to North Africa Varo, with her father that Moslem dead must be wrapped in white for their final meeting with God, have raised very small sums of money for the voyage by selling the few white bed sheets she had been able to get pack. And with the help of some influential friends in Marseilles, she got managed to secure steamer passage for couple. Preventing from traveling to New York with other Surrealist émigrés because of Peret's leftist political affiliations and support in Spain for the Loyalist cause, the penniless couple had waited for months in Casablanca because they didn't have the right papers.
In November 1941, after a long and difficult journey, the couple reached Mexico with nill money other than the small allowance paid to Spanish political exiles by the Mexican government, and got settled on Gabino Barreda in a decaying apartment building, not far from the ancient Aztec center of Mexico City and near the more recent Monument to the Revolution. Varo instantly began the wearying task of providing an income for couple, an undertaking dictated by its necessity, but one that would drain much time and energy from her own painting for the next ten years.
The couple joined an active group of expatriate painters and writers that included Leonora Carrington. A very close relation developed between Carrington and Varo, and together they created a new pictorial language more relevant to their own styles and requirements. They got absorbed in mysticism, sharing stories, dreams, and magic potions, also as well as using painting as the recording of life's journeys.
Varo had her first one-woman exhibition in 1956 at the Galeria Diana in Mexico City; her retrospective at the Museo de Arte Moderno in 1971 drew the largest audiences in Mexican history. As the result, Varo, until her death in 1963, remained in Mexico.