Magical Journeys in the Works of Remedios Varo and Leonora Carrington - Research Paper Example

? Outline A. Thesis: Magical journeys are used as metaphor for internal liberation in the works of Remedios Varo and Leonora Carrington. B. Background information a. Remedios Varo’s life b. Leonora Carrington’s life II. Cultural Content  A. The culture of the myth and the mystical in Varo B.  The cultural influences of witches, birds and false stories about illusion (Bird Bath) III. Symbolism A. Symbols of being trapped and gaining freedom in Varo – labyrinth vs. maze, tower vs. opening, women traveling through water vs. unknown background B. Labyrinth in Carrington – shows good, evil and the in between – gaining freedom or traveling with the good or evil outside of the maze / labyrinth IV. Style of Art A. The use of the surreal as a part of the imagination to gain freedom, even inside of walls (Varo) B. The use of the surreal as magic to move into the unknown and beyond to find freedom (Carrington) V. Conclusion  Introduction The creation of expression through art is one which is based on creating specific topics and themes that provide insight through the artist. When looking at the works of Remedios Varo and Leonora Carrington, it can be seen that there is a specific set of attributes that are defined with their works. These are based on expressions and personal beliefs of both of the artists. The artists use magical journeys as a metaphor for internal liberation through various works. Examining the magical journeys as well as how it relates to the liberation is one which redefines the expressions and concepts that are associated with the artistic works and the beliefs in which both of the artists carry. Background Information Remedios Varo was born in 1908 and died in 1963 and was a well – known Spanish - American painter. The works which she produced were best known for surrealist ideologies and anarchist concepts which opposed the politics and culture of the nation at this specific time frame. Varos was forced to move during the Spanish Civil War and was led into Paris. During this time, she met several other surrealist painters, including Gerardo Lizzarga and Benjamin Peret. She became a member of the group Logicophobiste where most of her artistic influences began to form. In 1941, she was forced into exile again, specifically with the Nazi regime that took occupation in France. This particular political movement led her to Mexico City where she remained for the rest of her life. During this time, she was introduced to artists Frida Kahlo, Diego Rivera and Leonara Carrington1. The second artist, Leonara Carrington, is known because of the same influences and styles which were carried by Varo. Carrington was born in 1917 and died in May of 2011. Carrington was born in England to a father who was known for his textile manufacturing. Her father’s wealth allowed her to be governed by tutors and nuns; however, she was expelled from two schools for her behavior. Her father tried to change this by sending her to Florence, Italy, where she attended the Academy of Art. She later joined the Chelsea School of Art and then the Academy of Amedee Ozenfant. She was quickly influenced by surrealism from Paul Eluard and Herbert Read. By 1938, she was painting surrealist art and settled in France with her husband, Max Ernst. Both collaborated on several works; however, Ernst was arrested several times by Nazis because of the belief that he was a hostile alien. Both escaped to America; however, Carrington broke down mentally and was forced to return to Spain where she was placed in a mental institution. She later went to Mexico and New York where she was able to flourish with her paintings and which allowed her to explore more surrealist artwork2. When looking at both of the artists, it can be seen that the history and the specific problems are similar. Both were in similar place in Europe and went through forms of exile from politics, specifically with the Nazi regime. Both were exiled into different countries where they underwent several influences that were based on the political problems of the time. The women were also both under mental exile, specifically with Carrington and her earlier years of rebelliousness from her father and the movement into a mental institution. Varo went under this same type of anxiety with the several points of exile and the problems which occurred as she moved into various locations as well as through the three marriages she underwent. Each of these influences that each went through reflected the work, specifically in terms of trying to overcome exile, find freedom and to move into a safer place in which there was a complete exploration of their lives without the several conflicts. Each of these experiences not only influenced their work, but was known to lead into an understanding of how the movement of surrealism, practiced as the main technique by both artists, was able to strongly influence their techniques and thematic materials3. Cultural Content The first concept which is prevalent in both of the women’s artwork is presented from the cultural content, specifically which was inclusive of the European style and the Mexican influences where both left to because of exile. Both were known to use a sense of magic and surrealism as a part of the aesthetic structure, specifically which was used to represent the mystical worlds. This was done in terms of the cultural aspects of Spain, France and Mexico, specifically by combining the myths and fables with the subject matter. This was important to note because both used similar techniques from the mystical and magical side. This was combined with the subject matter that was prevalent with myths that were used about looking at evil or danger and overcoming this through the use of magic and the mystical features which the subject matter held. These components were able to create a sense of culture in the form of the mystical that was a part of the artwork4. The first example of this can be seen in Varo’s work, “Still Life Reviving” as seen in figure 1. Figure 1: “Still Life Reviving” by Varo Still Life Reviving (1963) oil on canvas This work was completed in 1963 and is an oil on canvas. The picture is one which is based on the cultural aspect first of the still life, which is the table and the candle in the middle. The revival is one which comes from the sense of myth that is across cultures, which is inclusive of the spirit and the elements that surround a still life and which have a sense of life to them. This is furthered with Varo attaching to the mystical element of the wind that is created by the fruit, candle light and which creates a sun like shape from the table. These elements move into the mythical ideals of the four elements creating the mystical responses from the still life, held by each culture in which Varo was exposed to5. The concept of the mystical movement is one which is further heightened by using this magic to gain a sense of freedom, where the stillness can gain life and move outside of the original elements. This makes the cultural connotation of magic and the mystical also representative of the ideas of internal freedom. The same cultural connotations can be seen in the works of Carrington, such as seen in the work “Bird Bath” in figure 2. Figure 2: Bird Bath by Carrington (Bird Bath (1978) Serigraph) The mystical figures in this particular artwork are inclusive of the woman dressed as a witch, the bird and the woman dressed as a bird. The background figure, which becomes the central point of interest, is the building with the bird on the top, which reflects the two women in the front. The concept which is portrayed in this is seen best with the spray paint that is reflected on the bird as well as the dress of the individual holding the cloth, who is dressed as a bird. The concept perceived is based on the illusions which are created to build a perception about the mystic and the mythical. The bird combines with this with the concept of the myth carried in most cultures of the bird representing freedom. However, in this particular painting, the bird represents one who is exposed to an illusion of being painted and being placed on a building, where it is trapped. The cultural significance is then based on a question of freedom and how the loss of this is from the illusions which are in the painting6. Symbolism Another aspect which is seen in both artists is from the representation of symbolism that is used. An example of this from Varo can be seen in Figure 3. Figure 3: Transito Ene Spiral (Transito Espiral (1962) oil on canvas) This particular painting represents symbols from different perspectives. The first is to show the buildings as a maze, which would indicate a trap. However, there is also a labyrinth that is created, which is a spiritual representation of freedom. The symbols further with the buildings, which show the walls that create a sense of being trapped. The most important aspect is the center point, which shows the tower that the eye is immediately drawn to as well as a figure that is trapped in the top part of the tower, which indicates being trapped but having the ability of gaining freedom by going outside of the labyrinth. The background is inclusive of water and clouds, which also indicates the same thought of being trapped but also gaining freedom. The concepts in this particular painting are able to show the ideal of freedom and being trapped are dependent on the perspective which one looks at as well as how one interprets the symbolism that is in the piece. By showing both sides, Varo is able to create a double identity in finding freedom or being in the middle of the tower and trapped as the main point of reference. Carrington has a similar work to this, as seen in figure 4. Figure 4: Estranged Visions (Estranged Visions, 1998, oil on canvas). The same indications o the mysticism of the labyrinth or the maze is prevalent in this. The symbols move around the circle to indicate the points of color as the main reference to freedom or being trapped. The black, white and red stand out with the animals and humans that is able to walk through the labyrinth. This works symbolically as a point of both good and evil as well as a balance point between the ideology of being free or trapped. Carrington’s symbolism, instead of holding a main point of reference, allows the viewer to move through the maze with his eyes as the main perspective. This creates both a symbol of the spectacle and one which is based on a sense of savagery, specifically which comes from both the evil and good moving through the mystical element of the labyrinth. Creating this energy of the mystical element is then able to show the double concept of being internally free and feeling the sense of being trapped within the maze that is a part of the artwork7. Style of Art The points of reference which are used with both artists are furthered with the representation of surrealism, which both used in almost all paintings that were developed. The concept of creating a sense of reality out of the mystical and the mystery of the subconscious is the main approach which both used. The expression which was used in both artists was based on the ideology of depaysment, meaning disorientation. By disorienting the view, changing focal points and perspectives and creating a sense of altered reality, both were able to bring the mystical alive. More important, there was the ability to create a sense of magic as a part of the surrealism while representing more capabilities of creating more interpretations and realities. The ability to distort reality then worked to provide a magical element to the works. Both women combined this with the sense of internal freedom that could come with the surrealist efforts, or magical elements, that were within the works8. An example of this work by Varo can be seen in figure 5. Figure 5: Varo Surrealism Aurora, 1956, oil on canvas) The surrealism that is in this painting is inclusive of the light and the moss that is in the walls, which combines the natural elements with the building, something which moves beyond the reality and practicality of living. This is combined with the figures, which are coming out of the wall and could be seen as mystical figures or women that are as ghosts. One is playing a cat and the other a fiddle, both which would be realistically impossible. The focus of the eye moves to the women playing the instruments and finding a sense of freedom within the walls. This is done by the internal processes that the women follow of playing the instruments, even though they are in a wall. As they play, it allows the natural and the mystical to begin to appear. While this particular situation could not happen practically, the elements show how it is a condition of the subconscious in finding a sense of freedom and in creating the surreal and natural. Carrington follows the same surreal elements to show the sense of internal freedom by bending and going outside of reality to create something more magical as seen in figure 6. Figure 6: “The Giantess” (The Giantess, 1991, oil painting) This particular figure moves outside of reality to show perspectives of imaginary figures. The eye is drawn toward the woman on the left, which consists of a draped figure that is taller than life and has clothing that is unlike any known in the painting. This is followed by the background images, including stairways to the natural and a background of homes and other elements that would only be found in something imaginary or magical. The freedom that is found in this comes from the woman who is wrapped in the clothing and with the eye moving into the background where the greenery and natural elements are seen, showing a release from the captivity. The surrealism of the situation is able to bring about the point of overcoming the specific situation and to move into the surrealist elements to be exposed to something greater. Conclusion The several concepts that are a part of Varo and Carrington are able to show a specific approach to the magical and mystical elements. These elements are used specifically to show a sense of internal freedom that both the women are able to overcome. By using magic in the main thematic materials, use of symbolism and the cultural elements, is also the ability to relate to finding freedom through the unknown aspects which both women create. These several concepts can be said to link to the background of both women with the exiles both received politically, mentally and physically. This was combined with the several influences of surrealism and the movement through various lands which both women experienced and which were able to create a sense of believing in the unknown and magical for a sense of personal freedom. Review of Points and Opinion The important elements of Varo and Carrington’s works are dependent on moving outside of the natural, practical or the known. Each of the perspectives is taken from the surreal, meaning that it moves beyond the natural and into the subconscious and imaginary mind. This particular approach allows both women to use elements of magic and mysticism in the works. Combining this with the cultural influences, elements of ssymbolism and the thematic material creates a sense of consistency in both works. However, each of the works also creates a known theme of finding a sense of inner freedom by moving through the mazes and subject matter which is created. When I was looking through the works of both artists, I found that both had a strong resemblance to the other. All of the paintings incorporate the surreal, but not to a point of defining the strange or unknown. Instead, the surreal is used in a calculative way, meaning that there is a direct association with the mystical and magical elements which are known to both women. I found this part of the works to be the most intriguing and to create a stronger statement with each of the works individually, as well as when looking at the paintings from a collection point of view. I also found that the continuous meaning of internal freedom in the works was easier to find with the mystical and magical. As the surreal became more prevalent, it also became easier to find the thematic material and to associate it with the background of both women and the main themes of freedom and traps that were experienced in the artwork. I felt like both artists, with their several depictions, were able to create a sense of experience in the pieces. The perspective which was created, the use of the imaginary and the chosen subject matter that worked with the techniques by both women changed the approach to art. It was no longer about the portraits or the need to create a specific proportion that related to the art, such as I would see in a Greek or Classical art piece. Instead, there was consistency with jumping into the imagination and believing in themes that could be stated through the subconscious. By making the experience of the painting more important, I found the pieces refreshing and was able to easily find several relationships to the main themes with personal interpretations and responses, making both artists effective and strong in their statements. References Carroll, R. “Something to See: Spectacle and Savagery in Leonora Carrington’s Fiction.” Studies in Contemporary Fiction. 7 no 4 (1998). Colvile, Georgiana. “Beauty and Is the Beast: Animal Symbology in the Work of Leonora Carrington, Remedios Varo and Leonor Fini.” Surrealism and Women. (UK: MIT Press, 1986). Favre, Isabelle. “The Genres and Genders of Surrealism.” Comparative Paintings 54 no 1, (2002). Kaplan, Janet. Unexpected Journeys: The Art and Life of Remedios Varo (New York: Abbeville, 1988). Kaplan, Janet. 1987. “Remedios Varo.” Feminist Studies 13 no 1, (1987). Raay, Steven, Joanna Moorhead, Teresa Arcq. Surreal Friends: Leonora Carrington, Remedios Varo and Kati Horna. (Pallant House Gallery: 2010). Whitman, Sills and Leslie. Visions: Stories of Women Artists (Illinois: Morton Grove, 1993). Read More