Remedios Faro, Spanish painter of magic, mysticism and science

Farrow, then in his forties, made great headway in a group exhibition in 1955, showing paintings dealing with the subconscious, the mystic, and the metaphysical; Often, the protagonist looked like Pharos.

Arkak said in an interview that she was interested in tarot, astrology and alchemy, which she balanced with a long-standing love of science, especially geology. Farrow’s work combined these interests.

“She was trying to find the intersection between the mystic and the scholar,” Arkak said.

in the Faroese palette “harmony” (1956), a person (possibly a man or a woman) sits at a desk in a cavernous room, arranging objects such as crystals, plants, geometric shapes, and paper pieces with mathematical formulas on an abacus-like musical staff or loom. Melodic-like figures seem to emerge from the walls. Farrow wrote in a letter to his family that a person “is trying to find the invisible thread that holds all things together.”

At the time, he was living with Walter Groen, an Austrian exile who owned a famous classical music record shop. She believed in Farrow’s talent and encouraged him to devote himself unreservedly to painting.

Farrow had her first major solo exhibition in Mexico City in 1956. It was a huge hit with critics and collectors, as well as the famous Mexican muralist Diego Rivera, who reportedly said that Farrow was “among the most important female artists in the world”. . His second solo exhibition, in 1962, was also successful.

Farrow died of a heart attack on October 8, 1963. He was 54 years old. Gruen became a tireless advocate for her work and her legacy, and a posthumous retrospective in 1971 at the Museum of Modern Art in Mexico City drew throngs of people.

Farrow’s work has skyrocketed in value in recent years, largely due to its rarity, quality, and stunning image.

“It has a magical effect,” Norris said. “There is a glow and light in his work, much like what you see in a large Renaissance painting.”