{"id":23447,"date":"2023-08-23T16:30:12","date_gmt":"2023-08-23T15:30:12","guid":{"rendered":"https:\/\/www.johncoulthart.com\/feuilleton\/?p=23447"},"modified":"2024-01-19T19:53:03","modified_gmt":"2024-01-19T19:53:03","slug":"remedios-varo-1967","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2023\/08\/23\/remedios-varo-1967\/","title":{"rendered":"Remedios Varo, 1967"},"content":{"rendered":"

\"varo1.jpg\"<\/a><\/p>\n

Online galleries have made profiles like this short Mexican film rather redundant, but it’s good to know that someone went to the trouble of presenting Varo’s paintings in this way at a time (1967) when you’d be lucky to see more than one of them in a book on Surrealist art. Jom\u00ed Garc\u00eda Ascot’s camera roams among the details of Varo’s dreamworlds while Spanish voices read from a variety of Romantic and other texts. I hadn’t noticed before the amount of cats in Varo’s paintings. Look for the felines here<\/a>.<\/p>\n

\"varo2.jpg\"<\/a><\/p>\n

Elsewhere on { feuilleton }
\n\u2022 The Surrealism archive<\/a><\/p>\n

Previously on { feuilleton }
\n\u2022 Pynchon and Varo<\/a>
\n\u2022 Remedios Varo\u2019s recipe for erotic dreams<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Online galleries have made profiles like this short Mexican film rather redundant, but it’s good to know that someone went to the trouble of presenting Varo’s paintings in this way at a time (1967) when you’d be lucky to see more than one of them in a book on Surrealist art. Jom\u00ed Garc\u00eda Ascot’s camera … Continue reading “Remedios Varo, 1967”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,7,44,18],"tags":[13034,1431],"class_list":["post-23447","post","type-post","status-publish","format-standard","hentry","category-art","category-film","category-painting","category-surrealism","tag-jomi-garcia-ascot","tag-remedios-varo"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-66b","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/23447","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=23447"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/23447\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=23447"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=23447"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=23447"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}