Remedios Varo

In this Spanish name, the first or paternal surname is Varo and the second or maternal family name is Uranga.

Remedios Varo
Remedios Varo, 1959
Born	María de los Remedios Alicia Rodriga Varo y Uranga (1908-12-16)16 December 1908 Anglès, Girona, Spain
Died	8 October 1963(1963-10-08) (aged 54) Mexico City, Mexico
Alma mater	Real Academia de Bellas Artes de San Fernando
Movement	Surrealism

María de los Remedios Alicia Rodriga Varo y Uranga (known as Remedios Varo, 16 December 1908 – 8 October 1963) was a Spanish Mexican surrealist painter who created the majority of her most iconic and celebrated works in Mexico.

Early life and education

María de los Remedios Alicia Rodriga Varo y Uranga was born on 16 December 1908 in Anglès, a small town in the province of Girona, in Catalonia. Remedios was named in honor of the Virgen de los Remedios ("Virgin of Remedies") as a 'remedy' for an older sister's death. She had two surviving siblings: an older brother Rodrigo, and a younger brother Luis. Her mother, Ignacia Uranga y Bergareche, was born in Argentina to Basque parents and her father, Rodrigo Varo y Zajalvo, was from Córdoba in Andalusia.

When Varo was a young child, her family moved frequently throughout Spain and North Africa to follow her father's work as a hydraulic engineer. While her father was a somewhat agnostic liberal who studied Esperanto, her mother was a devout Catholic and enrolled her in a strict convent school at the age of eight. Varo's father encouraged her artistic endeavors, taking her to museums and having her meticulously copy his diagrams. While in school, Varo was somewhat rebellious. She read authors such as Alexandre Dumas, Jules Verne, and Edgar Allan Poe, as well as mystical literature and Eastern spiritual works. As a teenager she became interested in dreams, writing stories which developed fantastical themes she would later explore in her art.

In 1924, Varo enrolled at the prestigious Real Academia de Bellas Artes de San Fernando in Madrid, a school known for rigid and exacting training. Aside from the required classes, she took an elective class in scientific drawing. One of her instructors was Realist painter Manuel Benedito, from whom she learned traditional oil painting techniques. Much of the work she created from 1926–1935, particularly her academic paintings, has been lost; it is unknown what happened to those artworks.

In the 1920s, the Surrealist movement was becoming popular with the Madrid art scene; the city hosted avant-garde intellectuals and artists such as Federico García Lorca, Luis Buñuel, Rafael Alberti, and Salvador Dalí. Varo became attracted to the surreal, finding inspiration in the works of Hieronymus Bosch, Francisco Goya, and El Greco which she visited at the Museo del Prado.

Career

Varo graduated from the Academia in 1930. Soon after, she married former classmate Gerardo Lizárraga in San Sebastián. Lizárraga was a fellow Surrealist who worked in both visual arts and filmmaking; he was also an anarchist. Following an outbreak of violence in Madrid resulting from the establishment of the Second Spanish Republic, Varo and Lizárraga moved to Paris. In Paris, Varo enrolled at the Académie de la Grande Chaumière and quickly dropped out, realizing she did not want to remain within the confines of formal education. Working odd jobs and engaging with the Parisian art scene, the couple stayed in the city for a year before moving to Barcelona in 1932.

By the early 1930s, Barcelona had become the liberal and avant-garde artistic center of Spain, more so than Madrid. Soon after arriving, Varo started a romantic relationship with fellow artist Esteban Francés, although still living with Lizárraga; this was the first of multiple open relationships she would have. While in Barcelona, Varo and Lizárraga worked for an advertising firm. Varo became part of a circle of other avant-garde artists, including José Luis Florit and Óscar Domínguez, and with Francés she came into contact with French Surrealists. While sharing an art studio on the Plaça de Lesseps with Francés, Varo began creating her first artworks after graduating from the Academia. Her work of the mid-1930s indicates familiarity with contemporary Spanish and French Surrealist imagery. Varo often played the popular Surrealist game cadavre exquis with her friends, and sent works she had made via the game to fellow artist and friend Marcel Jean for circulation in Paris.

By the summer of 1935, the tension and violence which had caused Varo and Lizárraga to leave Madrid had spread throughout Spain; the Spanish Civil War began the next year. Varo's brother Luis enlisted in the Francoist army and died of typhoid fever soon thereafter, a course of events which would come as a shock to Varo. It was in this context that Domínguez introduced Varo to French Surrealist poet Benjamin Péret, who had arrived in Barcelona in August 1936 to volunteer with the Republican faction. Péret was highly politically active; he was a member of the Trotskyist POUM and staunchly anti-clerical. Varo and Péret soon became romantically involved; his 1936 volume of love poetry, Je sublime, was dedicated to her.

France

When Péret decided to return to Paris in 1937, Varo joined him. Francés soon followed, and would compete with Péret for Varo's affection. Through Péret, Varo became acquainted with the inner circle of Surrealists, including André Breton, Max Ernst, Victor Brauner, Joan Miró, Wolfgang Paalen, and Leonora Carrington. Varo felt intimidated by Breton—and Péret—at Surrealist gatherings, as the two fostered an atmosphere which André Thirion compared to an "entrance exam". By the late 1930s, Varo had started giving her year of birth as 1913 instead of 1908; this would later be reflected on her passport and grave. According to biographer Janet Kaplan, she may have fabricated being five years younger to fit more closely to the Surrealist ideal of the femme-enfant: an uncorrupted, childlike woman intuitively connected with the unconscious mind. During the period of 1937–1939, Varo experimented with new techniques and influences, finding inspiration in the works of her friends Dalí, Ernst, Paalen, Brauner, and René Magritte. Never formally a part of the Surrealist group, Varo nonetheless participated in the 1936 London International Surrealist Exhibition and subsequent International Surrealist Exhibitions in Tokyo, Paris, Mexico City, and New York. Her work was also often republished in Surrealist periodicals, including Minotaure.

While in Paris with Péret, Varo lived the impoverished and bohemian life typical of artists. They both worked numerous odd jobs; Varo, along with Domínguez, resorted to forging de Chirico paintings when particularly destitute. As she was living with Péret, she became romantically involved with Brauner and her work of the period was heavily influenced by his.

World War II

In 1939, the Nationalists claimed victory in Spain and Francisco Franco disallowed anyone associated with the Republicans from entering the country; Varo became permanently unable to return to her home and was isolated from her family. This deeply impacted her, and was a source of pain and regret throughout her life. In July of the same year, the French government began evacuating Paris, and in September World War II officially began. Varo and her circle stayed in the city, which for the first eight months of war saw little action other than an influx of foreign refugees from elsewhere in Europe. As a foreign national herself, Varo now risked deportation in an increasingly hostile environment. Her association with the communist Péret put her at further risk, and he was imprisoned in early 1940 for his political activism. Varo was imprisoned as well, at some point in 1940, for her relationship with Péret. She never spoke about this experience; the length and location of her internment and the conditions she faced are unknown. However, according to friends' accounts, it had an intense impact on her.

While viewing a documentary film on French internment camps by Hungarian photojournalist Emerico Weisz, by coincidence Varo recognized Gerardo Lizárraga, to whom she was still legally married. They had lost contact when Varo left Spain, while Lizárraga remained to fight for the Republicans; when the Nationalists won, he fled to France and was imprisoned. After seeing the film, Varo and her network successfully bribed authorities and secured the release of Lizárraga.

On 14 June 1940, the Nazis invaded Paris, putting Varo at imminent risk. She, along with millions of other Parisians, fled to the unoccupied south of France. Domínguez insisted she take his seat in a car going south, and eventually she arrived in the coastal village of Canet-Plage. Initially staying with Jacques Hérold and several other refugees, she soon moved in with Brauner. By August 1940, she had left Canet-Plage for Marseille and reunited with now-free Péret. Marseille was, although unoccupied, not safe; the Gestapo maintained a presence in the city. Varo and Péret found shelter with Varian Fry's Emergency Rescue Committee, an organization dedicated to facilitating the migration of artists and intellectuals from wartime Europe to the Americas. Over time, much of Varo's circle made it to Marseille, where they shared their limited funds among each other and met nightly in cafés.

The situation in Marseille deteriorated in 1940 and 1941, and the Rescue Committee recognized Péret and Varo's immediate need to escape the Vichy authorities. With Péret having been denied entry into the United States due to his communist politics, they looked toward Mexico, which had declared amnesty for Spanish refugees in 1940. The Rescue Committee made appeals for funding of their travel to Mexico, and found places on the Serpa Pinto for them, which departed from Casablanca. Through unknown means, Varo and Péret arrived in Casablanca and boarded the ship, which was crowded with other refugees.

Mexico

Roulotte, 1956

La huida, detail, 1961

Varo initially considered her time in Mexico to be temporary. However, except for a year and a half spent in Venezuela, she would reside in Mexico for the rest of her life, producing around 110 paintings during her last decade.

She said about working in Mexico, "[In Europe] for me it was impossible to paint among such anxiety. In this country I have found the tranquility that I have always searched for".

In Mexico, she met regularly with other European artists such as Gunther Gerzso, Kati Horna, José Horna, and Wolfgang Paalen. In Mexico, she met native artists such as Frida Kahlo and Diego Rivera, but her strongest ties were to other exiles and expatriates, notably the Mexican painter of English origin Leonora Carrington and the French pilot and adventurer, Jean Nicolle. However, because Mexican muralism still dominated the country's art scene, surrealism was not generally well received. She worked as an assistant to Marc Chagall with the design of the costumes for the production of the ballet Aleko, which premiered in Mexico City in 1942.

Varo discovered an interest in the esoteric doctrine of G.I. Gurdjieff in 1943, and officially joined the group in 1944.

She worked at other jobs, including in publicity for the pharmaceutical company Bayer, and decorating for Clar Decor. In 1947, Péret returned to Paris, and Varo traveled to Venezuela. The trip to Venezuela was part of a French scientific expedition which she joined in Paris during a visit there from Mexico.

Varo returned to Mexico in 1949 and began her third and last important relationship, with Austrian political refugee Walter Gruen, who had endured concentration camps before escaping from Europe. Gruen believed fiercely in Varo, and he gave her the economic and emotional support that allowed her to stop working as a commercial illustrator and to fully concentrate on her painting. The artwork for which Varo is best known was created during 1953–1963.

In 1955, Varo had her first solo exhibition at the Galería Diana in Mexico City, which was well received. One reason for this was that Mexico had opened up to other artistic trends. Buyers were put on waiting lists for her work. Even the established Mexican artist Diego Rivera was supportive. Her second showing was at the Salón de la Arte de Mujer in 1958. In 1960, her representative, Juan Martín, opened his own gallery and showed her work there, and he opened a second in 1962, at the height of her career.

On October 8, 1963, Varo suddenly died of a heart attack. André Breton commented "Surrealism claims totally the work of the enchantress too soon gone."

Artistic influences

Renaissance art inspired harmony, tonal nuances, and narrative structure in Varo's paintings. The allegorical nature of much of Varo's work especially recalls the paintings of Hieronymus Bosch, and some critics, such as Dean Swinford, have described her art as "postmodern allegory", much in the tradition of Irrealism.

Varo was influenced by styles as diverse as those of Hieronymus Bosch, Francisco Goya, El Greco, Picasso, and Braque. While André Breton was a formative influence in her understanding of Surrealism, some of her paintings bear an uncanny resemblance to the Surrealist creations of the Greek-born Italian painter Giorgio de Chirico. Her paintings reflected the painstakingly precise drawing skills which she acquired early in life.

While there is little overt influence of Mexican art on her work, Varo and the other surrealists were captivated by the seemingly porous borders between the marvelous and the real in Mexico.

Philosophical influences

Varo considered surrealism as an "expressive resting place within the limits of Cubism, and as a way of communicating the incommunicable".

Even though Varo was critical of her childhood religion, Catholicism, her work was influenced by religion. She differed from other Surrealists because of her constant use of religion in her work. She also turned to a wide range of mystic and hermetic traditions, both Western and non-Western, for influence. She was influenced by her belief in magic and animistic faiths. She was very connected to nature and believed that there was strong relation between the plant, human, animal, and mechanical world. Her belief in mystical forces greatly influenced her paintings. Varo was aware of the importance of biology, chemistry, physics, and botany, and thought it should blend together with other aspects of life. Her fascination with science, including Einstein's theory of relativity and Darwinian evolution, has been noted by admirers of her art.

She turned with equal interest to the ideas of Carl Jung as to the theories of George Gurdjieff, P. D. Ouspensky, Helena Blavatsky, Meister Eckhart, and the Sufis, and was as fascinated with the legend of the Holy Grail as with sacred geometry, witchcraft, alchemy, and the I Ching. Varo described her beliefs about her own powers of witchcraft in a letter to English author Gerald Gardner, "Personally, I don’t believe I’m endowed with any special powers, but instead with an ability to see relationships of cause and effect quickly, and this beyond the ordinary limits of common logic." In 1938 and 1939, Varo joined her closest companions Frances, Roberto Matta, and Gordon Onslow Ford in exploring the fourth dimension, basing much of their studies off of Ouspensky's book Tertium Organum. The books Illustrated Anthology of Sorcery, Magic and Alchemy by Grillot de Givry and The History of Magic and the Occult by Kurt Seligmann were highly valued in Breton's Surrealist circle. She saw in each of these an avenue to self-knowledge and the transformation of consciousness.

She was also greatly influenced by her childhood journeys. She often depicted out-of-the-ordinary vehicles in mystifying lands. These works echo her family travels in her childhood.

Surrealist influences

One critic states, "Remedios seems to never limit herself to one mode of expression. For her tools of the painter and the writer are unified in breaking down our visual and intellectual customs". Even so, most classify her as a surrealist artist in that her work displays many trappings of the surrealist practice. Her work displays a liberating self-image and evokes a sense of otherworldliness which is so characteristic of the surrealist movement. One scholar notes that Varo's practice of automatic writing directly correlates to that of the Surrealists. The father of Surrealism, André Breton, excluded women as fundamental to the movement of Surrealism, but after Varo's death in 1963, he connected her “forever to the ranks of international surrealism".

The Surrealist movement tended to devalue women. Some of Varo's art elevated women, while still falling under the category of Surrealism. But it was not necessarily her intention for her work to address problems in gender inequality. But her art and actions challenged the traditional patriarchy, and it was mainly Wolfgang Paalen who encouraged her in this with his theories about the origins of civilization in matriarchal cultures, and the analogies between pre-classic Europe and pre-Mayan Mexico.

Relationship with Leonora Carrington and Kati Horna

Among all the refugees that were forced to flee from Europe to Mexico City during and after World War II, Remedios Varo, Leonora Carrington, and Kati Horna formed a bond that would immensely affect their lives and work. They all lived in proximity to each other in the Colonia Roma district of Mexico City.

Varo and Carrington had previously met through André Breton while living in Paris. Although Horna did not meet the other two until they were all in Mexico City, she was already familiar with the work of Varo and Carrington after being given a few of their paintings by Edward James, a British poet and patron of the surrealist movement.

All three attended the meetings of followers of the Russian mystics Peter Ouspensky and George Gurdjieff. They were inspired by Gurdjieff's study of the evolution of consciousness and Ouspensky's idea of the possibility of four-dimensional painting. Though deeply influenced by the ideas of the Russian mystics, the women often ridiculed the practices and behavior of those in the circle. The trio were sometimes referred to as "the three witches", because of their interest in the occult and spiritual practices.

After becoming friends, Varo and Carrington began writing collaboratively and wrote two unpublished plays together: El santo cuerpo grasoso and Lady Milagra – the latter unfinished. Using a technique similar to that of the game called Cadavre Exquis, they took turns writing small segments of text and put them together. Even when not writing together, they were often working collaboratively, often drawing from the same sources of inspiration and using the same themes in their paintings. Despite the fact that their work was extremely similar, there was one major difference: Varo's painting was about line and form, while Carrington's work was about tone and color. Varo and Carrington would remain extremely close friends for 20 years, until Varo's death in 1963.

Interpretations of Varo's artwork

Varo often painted images of women in confined spaces, achieving a sense of isolation. While Varo did not deem her own work feminist, "her work stretches the limits of and directly challenges confabulated, patriarchal ideals of femininity". Also, Varo's work redacts male interpretation of the female body. Her works focus on female empowerment and agency. The androgynous figures characteristic of her later work also challenge gender in that the figures do not fall neatly into gender normative categories, and often could be of either sex, creating a sense of the "middle area" between the two sexes and of the gender norms placed on them. One critic states, "Because the female body, a sacred erotic artistic space for men, is transformed by [Varo] into nongendered shapes and forms, namely animals and insects, the space becomes freed from monolithic sexual interpretation".  

Later in her career, her characters developed into her emblematic androgynous figures with heart-shaped faces, large almond eyes, and the aquiline noses that represent her own features. Varo often depicted herself through these key features in her paintings, regardless of the figure's gender. "Varo tends to not play out personal strife on the canvas but rather portrays herself in various roles in surreal dreamscapes". "It is Varo herself who is the alchemist or explorer. In creating these characters, she is defining her identity".

Varo's work also focuses on psychoanalysis and its role in society and female agency. In speaking on Woman leaving the Psychoanalyst (1961), one of Varo's biographers states, "Not only does Varo debunk the idea of a correct process of mental healing, but also she trivializes the very nature of that process by representing the impossible: a physical and literal dismissal of the father, Order, and in Lacanian terms the official entrance into culture: verbal Language".

Legacy

Varo's artwork is well known in Mexico, but is not as well known throughout the rest of the world.

Her mature paintings, fraught with arguably feminist meaning, are predominantly from the last few years of her life. Varo's partner for the last 15 years of her life, Walter Gruen, dedicated his life to cataloguing her work and ensuring her legacy. The paintings of androgynous characters that share Varo's facial features, mythical creatures, the misty swirls, and eerie distortions of perspective are characteristic of Varo's unique strain of surrealism. Varo has painted images of isolated, androgynous, auto-biographical figures to highlight the captivity of the true woman.

While her paintings have been interpreted as more surrealist canvases that are the product of her passion for mysticism and alchemy, or as auto-biographical narratives, her work carries implications far more significant.

In 1971 an exhibition of Varo's work was held at the Museum of Modern Art in Mexico City and enjoyed its highest ever attendance figures, exceeding those for exhibitions held to celebrate Diego Rivera and José Clemente Orozco.

More than fifty of her works were displayed in a retrospective exhibition in 2000 at the National Museum of Women in the Arts in Washington, DC.

The Crying of Lot 49, a novella by Thomas Pynchon, features a scene in which the main character recalls crying in front of a painting by Varo titled Bordando el Manto Terrestre ("Embroidering the Earth's Mantle").

Varo's painting The Lovers served as inspiration for some of the images used by Madonna in the music video for her 1995 single "Bedtime Story".

On 22 May 2019 Varo's 1955 painting Simpatía (La rabia del gato) ("Sympathy: the madness of the cat") sold for $3.1 million at an auction at Christie's, New York City.

In 2023, the Art Institute of Chicago held an exhibit of her work from July 29 through Nov 27, the first to be held of her work in the last 20 years in the U.S. with half of the works seen for the first time in the U.S.

Selected list of works

• 1935 El tejido de los sueños (Fabric of Dreams)
• 1937 El Deseo (Le Désil)
• 1942 Gruta mágica (Magical Grotto)
• 1947 Paludismo (wrongly known as Libélula) (Malaria (anopheles mosquito, Anopheles gambiae))
• 1947 El hombre de la guadaña (muerte en el mercado) (The Man with the scythe (death in the market))
• 1947 La batalla (The Battle)
• 1947 Wahgwah
• 1947 Amibiasis o los vegetales (Amebiasis or Plants)
• 1948 Allegory of Winter
• 1955 Useless Science or the Alchemist
• 1955 Ermitaño meditando (Meditating Hermit)
• 1955 La revelación o el relojero
• 1955 Trasmundo (Transworld)
• 1955 The Lovers
• 1955 El flautista (The Piper)
• 1955 Solar Music'
• 1956 El paraíso de los gatos (Paradise of cats)
• 1956 To the Happiness of Women
• 1956 Les feuilles mortes (Dead Leaves)
• 1956 Harmony'
• 1956 The Juggler (The Musician)
• 1957 Creation of the Birds
• 1957 Tailleur por dames (Women’s Tailor)
• 1957 Caminos tortuosos (Winding Roads)
• 1957 Reflejo lunar (Moon Reflection)
• 1957 El gato helecho (Fern Cat)
• 1958 Celestial Pabulum
• 1959 Exploration of the Sources of the Orinoco River'
• 1959 Catedral vegetal (Vegetal cathedral)
• 1959 Encounter
• 1959 Unexpected Presence
• 1960 Hacia la torre (Towards the Tower)
• 1960 Mimesis
• 1960 Woman Leaving the Psychoanalyst's Office'
• 1960 Visit to the Plastic Surgeon’s
• 1961 Vampiro (Vampire)
• 1961 Embroidering the Earth’s Mantle
• 1961 Hacia Acuario (Towards Aquarius)
• 1962 Vampiros vegetarianos (Vegetarian vampires) – sold for $3,301,000 in May 2015
• 1962 Fenómeno (Phenomenon)
• 1962 Spiral Transit
• 1963 Naturaleza muerta resucitando (Still Life Resurrecting)
• 1963 Still Life Reviving

Writings

• Varo, Remedios. Letters, Dreams & Other Writings. Trans. Margaret Carson. Cambridge, MA: Wakefield Press, 2018.
• Varo, Remedios. On Homo rodans and Other Writings. Trans. Margaret Carson. Cambridge, MA: Wakefield Press, 2024.
• Varo, Remedios (1997). Cartas, sueños y otros textos. Mexico: Biblioteca Era. ISBN 978-968-411-394-7.

See also

• Eva Sulzer
• Esteban Francés
• Gerardo Lizarraga
• Wolfgang Paalen
• Women surrealists
• Maruja Mallo

References

Bibliography

• Berland, Rosa (2016). "Remedios Varo: Surrealism and Gender Imagery in the Second Republic". In Gregori, Eduardo; Herrero-Senés, Juan (eds.). Avant-Garde Cultural Practices in Spain (1914-1936). Brill. pp. 127–140. doi:10.1163/9789004310186_010. ISBN 9789004310186.
• Kaplan, Janet A. (2000) [1988]. Remedios Varo: Unexpected Journeys (1st paperback ed.). New York: Abbeville Press. ISBN 9780789206275. OCLC 222685675.
• Lozano, Luis-Martín (2000). The Magic of Remedios Varo (in English and Spanish). Translated by Goldson Nicholson, Elizabeth; Valenzuela, Liliana. Washington, DC: National Museum of Women in the Arts. ISBN 9780940979444. OCLC 44675091.
• Ovalle, Ricardo; Gruen, Walter, eds. (1998) [1994]. Remedios Varo: Catálogo Razonado / Catalogue Raisonné (in English and Spanish) (2nd ed.). Mexico: Ediciones Era. ISBN 9789684114425. LCCN 00335655. OCLC 42025503.
  • Gruen, Walter. "Remedios Varo: A Biographical Sketch". In Ovalle & Gruen (1998), pp. 41-49.

Further reading

• Berland, Rosa J. H. (2010). "Remedios Varo's Mexican Drawings". The Journal of Surrealism in the Americas. 4 (1): 31–42. Archived from the original on 30 October 2018. Retrieved 26 October 2016.
• Berland, Rosa J. H. Remedios Varo: The Spanish Work. New Perspectives on the Spanish Avant-garde (1918–1936), Rodopi, Amsterdam, 2015
• Haskell, Caitlin; Arcq, Tere, eds. (2023). Remedios Varo: Science Fictions. Art Institute of Chicago. ISBN 9780300273212. LCCN 2023936030.
• Kaplan, Janet A. Unexpected Journeys: The Art and Life of Remedios Varo Archived 8 November 2016 at the Wayback Machine (New York: Abbeville, 1988), p. 164.
• O’Rawe, Ricki (11 September 2014). "Ruedas metafísicas: "Personality" and "Essence" in Remedios Varo's Paintings". Hispanic Research Journal. 15 (5): 445–62. doi:10.1179/1468273714Z.000000000100.
• O'Rawe, Ricki; Quance, Roberta Ann (2016). "Crossing the Threshold: Mysticism, Liminality, and Remedios Varo's Bordando el manto terrestre (1961–62)". Modern Languages Open. doi:10.3828/mlo.v0i0.138.
• de Orellana, Margarita ed. Five Keys to the Secret World of Remedios Varo. México City: Artes de México, 2008.
• Ovalle, Ricardo et al. (1994). Remedios Varo: Catálogo Razonado = Catalogue Raisonné. Ediciones Era, 342 pp. ISBN 968-411-363-3
• Umland, Anne; Manes, Cara (18 January 2019). "New to MoMA: Remedios Varo's The Juggler (The Magician)". Museum of Modern Art.
• Zamora, Lois Parkinson (Spring 1992). "The Magical Tables of Isabel Allende and Remedios Varo". Comparative Literature. 44 (2): 113–143. doi:10.2307/1770341. JSTOR 1770341.

External links

• Remedios Varo — Wikiart.org
• Remedios Varo Bibliography
• Remedios Varo: Major Works
• Remedios Varo—A Compendium of Online Galleries, Biographies, Articles, and Miscellany
• Comprehensive Gallery of paintings by Remedios Varo (Language: Spanish) Archived 18 April 2007 at the Wayback Machine
• Association des amis de Benjamin Péret (Language: French)
• National Museum of Women in the Arts, Remedios Varo Artist Profile
• Remedios Varo Archived 10 November 2022 at the Wayback Machine