Magical journeys are used as a metaphor for internal liberation in the Research Paper

Magical journeys are utilise as a metaphor for internal liberation in the whole kit of Remedios Varo and Leonora Carrington - Research Paper usageStyle of Art A.The example of the surreal as a part of the imagination to gain freedom, point inside of walls (Varo) B.The use of the surreal as magic to move into the un cognize and beyond to find freedom (Carrington) V. Conclusion Introduction The creation of expression through art is one which is based on creating particular proposition topics and themes that provide insight through the artist. When tone 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. stage setting 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(prenominal) 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 administration 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 Riv era 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 sustain who was known for his textile manufacturing. Her fathers 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 because 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, gunk 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 standardized. 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