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Alfonso de Neuvillate reviews the life and work of Remedios Varo, in a tribute to the Spanish painter who had died a few days earlier. Neuvillate believed that Varo, an exponent of Surrealism, had long since staked out an important space in the Mexican art mileu, especially after her first solo exhibition in 1956 at the Galería Diana. The critic describes Varo’s paintings as "drawing on every imaginable resource" in the creation of certain environments. He also mentions her old-style technical control which, according to many other critics, had always been her strong suit.
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During her twenty-year stay in Mexico, Remedios Varo (1908-63) established herself as one of the painters who blazed a trail for young Mexican artists; perhaps as a result of being identified with the European avant-garde, and because her radical ideas challenged conservative Europe. Varo was widely accepted by a range of Mexican intellectual groups, but was particularly appreciated by the young artists and intellectuals who were involved with the Ruptura movement. That was because Varo had no links to the so-called Mexican School of Painting that could connect her to the older aesthetic models. As with Leonora Carrington (1917), Varo managed to show her work in several group exhibitions almost immediately, and held her first solo event in 1956.