Laura G, Sassy 70’s
@LauraJG@deacon.social  ·  activity timestamp last week
From the museum: “Like many figures in Remedios Varo’s paintings, the subject of The Call (1961) projects a sense of solemn preoccupation, as though in the midst of a momentous adventure. Wearing flowing robes and carrying alchemical tools, including a mortar and pestle at her collar, she traverses a sort of courtyard. Her hair forms a brilliant swirl of light, which seems to bring her energy from a celestial source. This work reflects Varo’s characteristic color palette: the central figure, illuminated in fiery orange-gold tones, walks through shadowy, more muted surroundings. Precise lines reveal unexpected details, such as walls that appear to entomb figures in tree bark. Varo’s own features, particularly her large eyes and long, straight nose, often appear in the faces of her protagonists, emphasizing the importance she placed on her perspective as a woman. However, as in The Call, her works do not feature direct self-portraits. The figures are frequently androgynous or not-quite-human alter-egos, with witty and delicate features of fauna or otherworldly creatures. Varo created this work near the end of her life, while living in Mexico and growing in artistic reputation. It reflects her Surrealist influences and her interests (she dabbled in alchemical experiments) as well as her talent for evoking ambiguous narratives through art.”
From the museum: “Like many figures in Remedios Varo’s paintings, the subject of The Call (1961) projects a sense of solemn preoccupation, as though in the midst of a momentous adventure. Wearing flowing robes and carrying alchemical tools, including a mortar and pestle at her collar, she traverses a sort of courtyard. Her hair forms a brilliant swirl of light, which seems to bring her energy from a celestial source. This work reflects Varo’s characteristic color palette: the central figure, illuminated in fiery orange-gold tones, walks through shadowy, more muted surroundings. Precise lines reveal unexpected details, such as walls that appear to entomb figures in tree bark. Varo’s own features, particularly her large eyes and long, straight nose, often appear in the faces of her protagonists, emphasizing the importance she placed on her perspective as a woman. However, as in The Call, her works do not feature direct self-portraits. The figures are frequently androgynous or not-quite-human alter-egos, with witty and delicate features of fauna or otherworldly creatures. Varo created this work near the end of her life, while living in Mexico and growing in artistic reputation. It reflects her Surrealist influences and her interests (she dabbled in alchemical experiments) as well as her talent for evoking ambiguous narratives through art.”
From the museum: “Like many figures in Remedios Varo’s paintings, the subject of The Call (1961) projects a sense of solemn preoccupation, as though in the midst of a momentous adventure. Wearing flowing robes and carrying alchemical tools, including a mortar and pestle at her collar, she traverses a sort of courtyard. Her hair forms a brilliant swirl of light, which seems to bring her energy from a celestial source. This work reflects Varo’s characteristic color palette: the central figure, illuminated in fiery orange-gold tones, walks through shadowy, more muted surroundings. Precise lines reveal unexpected details, such as walls that appear to entomb figures in tree bark. Varo’s own features, particularly her large eyes and long, straight nose, often appear in the faces of her protagonists, emphasizing the importance she placed on her perspective as a woman. However, as in The Call, her works do not feature direct self-portraits. The figures are frequently androgynous or not-quite-human alter-egos, with witty and delicate features of fauna or otherworldly creatures. Varo created this work near the end of her life, while living in Mexico and growing in artistic reputation. It reflects her Surrealist influences and her interests (she dabbled in alchemical experiments) as well as her talent for evoking ambiguous narratives through art.”
Laura G, Sassy 70’s
@LauraJG@deacon.social  ·  activity timestamp last week
From the museum: “Like many figures in Remedios Varo’s paintings, the subject of The Call (1961) projects a sense of solemn preoccupation, as though in the midst of a momentous adventure. Wearing flowing robes and carrying alchemical tools, including a mortar and pestle at her collar, she traverses a sort of courtyard. Her hair forms a brilliant swirl of light, which seems to bring her energy from a celestial source. This work reflects Varo’s characteristic color palette: the central figure, illuminated in fiery orange-gold tones, walks through shadowy, more muted surroundings. Precise lines reveal unexpected details, such as walls that appear to entomb figures in tree bark. Varo’s own features, particularly her large eyes and long, straight nose, often appear in the faces of her protagonists, emphasizing the importance she placed on her perspective as a woman. However, as in The Call, her works do not feature direct self-portraits. The figures are frequently androgynous or not-quite-human alter-egos, with witty and delicate features of fauna or otherworldly creatures. Varo created this work near the end of her life, while living in Mexico and growing in artistic reputation. It reflects her Surrealist influences and her interests (she dabbled in alchemical experiments) as well as her talent for evoking ambiguous narratives through art.”
From the museum: “Like many figures in Remedios Varo’s paintings, the subject of The Call (1961) projects a sense of solemn preoccupation, as though in the midst of a momentous adventure. Wearing flowing robes and carrying alchemical tools, including a mortar and pestle at her collar, she traverses a sort of courtyard. Her hair forms a brilliant swirl of light, which seems to bring her energy from a celestial source. This work reflects Varo’s characteristic color palette: the central figure, illuminated in fiery orange-gold tones, walks through shadowy, more muted surroundings. Precise lines reveal unexpected details, such as walls that appear to entomb figures in tree bark. Varo’s own features, particularly her large eyes and long, straight nose, often appear in the faces of her protagonists, emphasizing the importance she placed on her perspective as a woman. However, as in The Call, her works do not feature direct self-portraits. The figures are frequently androgynous or not-quite-human alter-egos, with witty and delicate features of fauna or otherworldly creatures. Varo created this work near the end of her life, while living in Mexico and growing in artistic reputation. It reflects her Surrealist influences and her interests (she dabbled in alchemical experiments) as well as her talent for evoking ambiguous narratives through art.”
From the museum: “Like many figures in Remedios Varo’s paintings, the subject of The Call (1961) projects a sense of solemn preoccupation, as though in the midst of a momentous adventure. Wearing flowing robes and carrying alchemical tools, including a mortar and pestle at her collar, she traverses a sort of courtyard. Her hair forms a brilliant swirl of light, which seems to bring her energy from a celestial source. This work reflects Varo’s characteristic color palette: the central figure, illuminated in fiery orange-gold tones, walks through shadowy, more muted surroundings. Precise lines reveal unexpected details, such as walls that appear to entomb figures in tree bark. Varo’s own features, particularly her large eyes and long, straight nose, often appear in the faces of her protagonists, emphasizing the importance she placed on her perspective as a woman. However, as in The Call, her works do not feature direct self-portraits. The figures are frequently androgynous or not-quite-human alter-egos, with witty and delicate features of fauna or otherworldly creatures. Varo created this work near the end of her life, while living in Mexico and growing in artistic reputation. It reflects her Surrealist influences and her interests (she dabbled in alchemical experiments) as well as her talent for evoking ambiguous narratives through art.”
Art History Animalia
@art_history_animalia@historians.social  ·  activity timestamp 2 weeks ago
Official photo of the object in side profile on white background, with caption. Soft sculpture of a mother opossum with six babies hanging off her tail (held up curving over her back) by their own tails. Primarily naturalistic coloration but with the grey body fabrics decorated with various patterns. “Dahlov Ipcar, Opossum Family 2, 1968. Cotton, wire, and buttons, 10 x 15 x 6 in. Rachel Walls Fine Art. Photography by Andy Duback. © Dahlov Ipcar.”
Official photo of the object in side profile on white background, with caption. Soft sculpture of a mother opossum with six babies hanging off her tail (held up curving over her back) by their own tails. Primarily naturalistic coloration but with the grey body fabrics decorated with various patterns. “Dahlov Ipcar, Opossum Family 2, 1968. Cotton, wire, and buttons, 10 x 15 x 6 in. Rachel Walls Fine Art. Photography by Andy Duback. © Dahlov Ipcar.”
Official photo of the object in side profile on white background, with caption. Soft sculpture of a mother opossum with six babies hanging off her tail (held up curving over her back) by their own tails. Primarily naturalistic coloration but with the grey body fabrics decorated with various patterns. “Dahlov Ipcar, Opossum Family 2, 1968. Cotton, wire, and buttons, 10 x 15 x 6 in. Rachel Walls Fine Art. Photography by Andy Duback. © Dahlov Ipcar.”
Art History Animalia
@art_history_animalia@historians.social  ·  activity timestamp 2 weeks ago
Official photo of the object in side profile on white background, with caption. Soft sculpture of a mother opossum with six babies hanging off her tail (held up curving over her back) by their own tails. Primarily naturalistic coloration but with the grey body fabrics decorated with various patterns. “Dahlov Ipcar, Opossum Family 2, 1968. Cotton, wire, and buttons, 10 x 15 x 6 in. Rachel Walls Fine Art. Photography by Andy Duback. © Dahlov Ipcar.”
Official photo of the object in side profile on white background, with caption. Soft sculpture of a mother opossum with six babies hanging off her tail (held up curving over her back) by their own tails. Primarily naturalistic coloration but with the grey body fabrics decorated with various patterns. “Dahlov Ipcar, Opossum Family 2, 1968. Cotton, wire, and buttons, 10 x 15 x 6 in. Rachel Walls Fine Art. Photography by Andy Duback. © Dahlov Ipcar.”
Official photo of the object in side profile on white background, with caption. Soft sculpture of a mother opossum with six babies hanging off her tail (held up curving over her back) by their own tails. Primarily naturalistic coloration but with the grey body fabrics decorated with various patterns. “Dahlov Ipcar, Opossum Family 2, 1968. Cotton, wire, and buttons, 10 x 15 x 6 in. Rachel Walls Fine Art. Photography by Andy Duback. © Dahlov Ipcar.”
Journeys In Film
@JourneysInFilm@hcommons.social  ·  activity timestamp 2 months ago
Firestorm Books
@firestorm@kolektiva.social  ·  activity timestamp 2 months ago
Journeys In Film
@JourneysInFilm@hcommons.social  ·  activity timestamp 2 months ago
Journeys In Film
@JourneysInFilm@hcommons.social  ·  activity timestamp 2 months ago
Hotspur🏳️‍🌈🇺🇦
@Vagrarian@social.vivaldi.net  ·  activity timestamp 4 months ago
Hotspur🏳️‍🌈🇺🇦
@Vagrarian@social.vivaldi.net  ·  activity timestamp 4 months ago
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