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Descrizione : La expedici¢n de Aqua Aurea signed 'R. VARO' lower right oil on masonite 481/8 x 235/8in. (122.3 x 60cm.) Painted in 1962 PROVENANCE Elvia Mart¡nez Verdayes collection, Mexico City LITERATURE Callois, R./Paz, O., Remedios Varo, Ediciones Era S.A., M‚xico, 1966, n.p., n. 46 (illustrated in color) Jaguer, E., Remedios Varo, Filipachi, Par¡s/Era, M‚xico, 1980, p. 23, n.n. (illustrated in color) Mart¡n, F., "A una artista desconocida", Remedios Varo, Madrid, 1988, p. 13-31 (illustrated) Ovalle, R., et al., Remedios Varo, Cat logo Razonado, Mexico City, Ediciones Era, 1994, p. 219, n. 341 (illustrated in color) Ovalle, R., et al., Remedios Varo, Cat logo Razonado, (segunda edici¢n revisada), Mexico City, Ediciones Era, 1998, p. 219, n. 341 (illustrated in color) EXHIBITION Mexico City, Galer¡a Juan Mart¡n, Oleos Recientes de Remedios Varo, June, 1962, n.p., n.n. Mexico City, Museo Nacional de Arte Moderno, Palacio de Bellas Artes, La Obra de Remedios Varo, Aug., 1964, n.p., n. 74 Mexico City, Museo de Arte Moderno, Obra de Remedios Varo 1913-1963, Oct. 21, 1971, n.p., n. 66 Mexico City, Instituto Nacional de Bellas Artes y Literature, La Mujer como Creadora y Tema del Arte, Jun. 28-Aug. 31, 1975, n.p., n.n. New York, Mary-Anne Martin/Fine Art, Masterpieces in Mexican Art, Ancient to Modern, Sept.-Oct., 1990, n.p., n.n. NOTES Alchemy, the Divine Art, had its origins in Egypt sometime about 2500 years BC. Hermes Trismegistus, its mythical adept, mentioned in the Rosetta stone, is also the root from which alchemy took the name of hermetic science. Alchemy began as a process by which artisans learned to smelt various metals such as iron, lead, and copper and transmute them into rarer substances such as silver and gold. Its study reasoned a classification of the four elements: air, fire, earth, and water. The belief was that the use of the correct formula, combined these elements in the right proportions, and any substance could be derived from them. The process had much to teach, such as mathematics, the understanding of natural phenomena, or medicinal remedies, including methods of counteracting poisons or creating elixirs to prolong life. Over time, alchemy drew two types of individuals, those who sought to gain material wealth and those who sought its symbolic meaning. Remedios Varo sought alchemy to access hidden knowledge and understand the forces that shaped the universe and her perception of reality. The alchemical process represents the transcendence of a human being from its base nature. The art of Remedios Varo reflects her perpetual struggle to rise above her human condition toward a higher spiritual place, through awareness. Painting after painting explores various alternatives. A question she continuously poses is how can one be attuned to invisible forces without disrupting their natural rhythm? Alternatively, she wants to know how to attract the objective chance while holding back and retain awareness of the act; and how to retain the sense of being within yet simultaneously remaining apart. Remedios Varo suffered from separation anxiety, which kept her mobility reduced to places near her home. This may account why in so many of her works, her personages are in constant motion, displacing themselves from one place to another, whether on water, by ground or by air. Why is sitting still so threatening? Remedios Varo gives clue in other works in which those paralyzed by inertia pay. One becomes the chair on which she is sitting; another, upon opening a coffer on the table opposite her, discovers only the surface of herself. Aqua Aurea, is synonymous with Aurum Potabile or potable gold. The expression was used to describe in eastern and western traditions an elixir containing ground gold, used to prolong life. In Expedition of Aqua Aurea, Remedios Varo provides a visual rendition of the four elements, which together, traveled in the wintertime, to bring back the sought after elixir, the golden water that heals. We are grateful to Dr. Salomon Grimberg for his assistance in writing the essay for the above lot.
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