Yet the visual, formal, and imaginative permissions of Surrealism, and its sexual and erotic obsessions with Woman, opened a door for women artists. As in the movie Tootsie, in which the best woman is a man, or in Jacques Derrida’s privileging of the feminine position of the reader so long as femininity is not specifically ensconced in a female body, the best madwoman was a sane male Surrealist artist. But this Ophelia unbound took flight only through her impersonation by male artists who, while they valued imagination, could not imagine female subjectivity. The fascinating story of her life and the dazzling intricacy of her art will prove a revelation.SURREALISM, A MOVEMENT THAT valorized a “feminine” position while at the same time defining this position in traditional terms as irrational and unconscious, gave us Woman as no-longer-placid muse. It concludes with an invaluable chronology as well as a newly updated bibliography and list of exhibitions.Īn instant celebrity in Mexicowhere her retrospectives have drawn record crowdsVaro has recently found enthusiastic audiences in Europe, the Americas, Australia, and Japan. The book is further enlivened by her own voice, conveyed in hilarious letters and surreal stories, published here for the first time. Fifty color reproductions capture the wit and beauty of her major paintings numerous black-and-white illustrations document other works and portray the compelling artist with her circle of lifelong friends and admirers. Painted with a jewellike palette and old-master precision, Varo's intimate tableaux, rich with details of women's experience, tell fantasy tales of alchemy, science, mysticism, and magic.
Kaplan's vivid chronicle, the first on the subject in English, interweaves Varo's life with the artist's exquisite work. The adventures that fill the strange and wonderful paintings by Remedios Varo (1908-1963) reflect the physical and psychological journeys of her own tumultuous life.
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