Rene magritte landscapes

Rene magritte landscapes DEFAULT

Rene Magritte – Landscape 1920 René Magritte first painting

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The artist Rene Magritte

René Magritte was a Belgian surrealist artist. René became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers’ preconditioned perceptions of reality. 

Magritte Rene Early life

Rene Magritte was born in Lessines, in the province of Hainaut, Belgium, in 1898. He was the oldest son of , . Thereafter, he and his two brothers were raised by his grandmother.Little is known about Magritte‘s early life. He began lessons in drawing in 1910

René François Ghislain Magritte was born in Lessines, Belgium, on November 21, 1898, the oldest of three boys. His parents , Léopold Magritte a tailor and textile merchant, and Régina , who was a milliner before she got married .His father’s manufacturing business at times allowed the family to live in relative comfort, but financial difficulties were a constant threat and forced them to move about the country with some regularity. Magritte’s young world was dealt a far more destructive blow in 1912.

The tragic death of his mother – 1912

On 12 March 1912, his mother committed suicide by drowning herself in the River Sambre. This was not her first attempt at taking her own life; she had made many over a number of years, driving her husband Léopold to lock her into her bedroom. One day she escaped, and was missing for days. Her body was later discovered a mile or so down the nearby river.

According to a legend, 13-year-old Magritte was present when her body was retrieved from the water, but recent research has discredited this story, which may have originated with the family nurse. Supposedly, when his mother was found, her dress was covering her face, an image that has been suggested as the source of several of Magritte’s paintings in 1927–1928 of people with cloth obscuring their faces, including Les Amants (The lovers) and The Invention of Life (L’Invention De-La-Vie) 1928 .Magritte found solace from the tragedy in films and novels and especially through painting.Magritte disagreed with such interpretations, denying any relation between his paintings and his mother’s death. “My painting is visible images which conceal nothing,” he wrote, “they evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question, ‘What does it mean?’ It does not mean anything, because mystery means nothing either, it is unknowable.”

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Tagged 1900-1950, 1929, analysis, Art, biography, facts, first painting, landscape, meaning, Paintings, René, Rene Magritte, Rene Magritte Early works, surrealism, symbolism


Popular Panorama

Rene Magritte's Popular Panorama is a landscape painting, though it is far from what many would see as a conventional landscape. The canvas was owned by Paul Gustaaf van Hecke, Magritte's first art dealer, for many years. The canvas is split into three distinct elements, with a beach and sea portrayed in the top section. Immediately beneath that is a forest, and beneath that is a stylised urban street, featuring what looks like houses. Each of these sections is divided from the other by what looks like a floor, which has bee cut away by some kind of tool. This gives the impression that each of the three landscapes resides in its own section of a wooden box. The work was produced in 1926, when Magritte was 28, and it marks an important step forward in his conception of space. While Cubism had opened the door to conceptions of space, nothing quite like Magritte's work here had yet appeared. Each landscape looks like it has been commodified on some way, like separate items for sale in a box on a shelf. There is a kind of magic to it, as though someone has packed up these landscapes so that they can be transported and displayed, as though in a magic box. An important point to consider in the work is its portrayal of trees, a subject which fascinated Magritte. In this work, the trees have no roots; they simply spring out the ground. This portrayal of trees was not uncommon throughout Magritte's career, and perhaps reflects a sense of urban disconnection and rootlessness in his life. As with much of Magritte's work, there is a playfulness here, as well as perhaps something slightly more sinister. He is asking the viewer to alter their perspective on the natural world, to see it as the modern world has made it. The landscapes may exist simultaneously, but they are boxed off, separated both from each other and the viewer, until the artists cuts away each layer of the box and shows them. Overall, it is an interesting work, which gives a number of telling indications as to the shape Magritte's work would take in the future.
  1. Maxpreps chaminade basketball
  2. Scott pilgrim trophies
  3. Baby turtle leash
  4. Division 2 m1a
Two Meanings

The two meanings inherent in the diaphor of landscape are well expressed in the definition of landscape in Dr. Johnson’s classic 1755 dictionary: (1) “A region; the prospect of a country”; (2) “A picture, representing an extent of space, with the various objects in it.” At first glance, it might seem that definition one refers to the object of representation, whereas the second refers to the pictorial representation of that object. But this is not the case. In the second definition, what is represented pictorially is not a region or a country, but first and foremost “space,” the “objects” being secondary to the space. It may seem counterintuitive that an artist is more interested in space than the objects in that space, but the fact is that space itself, as a form of nature, is an important object of artistic representation. When the various objects in a painting representing an extent of space happen to be objects identifiable with those normally found in a region or country, it is easy to think of landscape 2 as being the pictorial representation of landscape 1, and thereby forget the predominant importance of the space being represented. This is especially the case because space does not appear to be as “visible” as the various objects represented, even though it could be argued that all one sees in this sort of painting is space!

William Kent + Lancelot “Capability” Brown et alt. Stowe (1730-1751)


(Header: Fragment of Rene Magritte, The Human Condition (1933))

Understanding Nonsense (The Son of Man) - Pocket Museum #1

René Magritte

Belgian painter

"Magritte" redirects here. For the asteroid named after the artist, see 7933 Magritte.

René François Ghislain Magritte (French: [ʁəne fʁɑ̃swa ɡilɛ̃ maɡʁit]; 21 November 1898 – 15 August 1967) was a Belgiansurrealist artist, who became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. His imagery has influenced pop art, minimalist art, and conceptual art.

Early life[edit]

René Magritte was born in Lessines, in the province of Hainaut, Belgium, in 1898. He was the oldest son of Léopold Magritte, a tailor and textile merchant,[1] and Régina (née Bertinchamps), who was a milliner before she got married. Little is known about Magritte's early life. He began lessons in drawing in 1910.

On 12 March 1912, his mother committed suicide by drowning herself in the River Sambre. This was not her first attempt at taking her own life; she had made many over a number of years, driving her husband Léopold to lock her into her bedroom. One day she escaped, and was missing for days. Her body was later discovered a mile or so down the nearby river.

According to a legend, 13-year-old Magritte was present when her body was retrieved from the water, but recent research has discredited this story, which may have originated with the family nurse.[2] Supposedly, when his mother was found, her dress was covering her face, an image that has been suggested as the source of several of Magritte's paintings in 1927–1928 of people with cloth obscuring their faces, including Les Amants.[3]


Magritte's earliest paintings, which date from about 1915, were Impressionistic in style.[2] During 1916–1918, he studied at the Académie Royale des Beaux-Arts in Brussels,[4] under Constant Montald, but found the instruction uninspiring.[2] He also took classes at the Académie Royale from the painter and poster designer Gisbert Combaz.[5] The paintings he produced during 1918–1924 were influenced by Futurism and by the figurative Cubism of Metzinger.[2]

From December 1920 until September 1921, Magritte served in the Belgian infantry in the Flemish town of Beverlo near Leopoldsburg. In 1922, Magritte married Georgette Berger, whom he had met as a child in 1913.[1] Also during 1922, the poet Marcel Lecomte showed Magritte a reproduction of Giorgio de Chirico's The Song of Love (painted in 1914). The work brought Magritte to tears; he described this as "one of the most moving moments of my life: my eyes saw thought for the first time."[6] The paintings of the Belgian symbolist painter William Degouve de Nuncques have also been noted as an influence on Magritte, specifically the former's painting The Blind House (1892) and Magritte's variations or series on The Empire of Lights.[7]: 64–65 pp. 

In 1922–1923, Magritte worked as a draughtsman in a wallpaper factory, and was a poster and advertisement designer until 1926, when a contract with Galerie Le Centaure in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal painting, The Lost Jockey (Le jockey perdu), and held his first solo exhibition in Brussels in 1927.[4] Critics heaped abuse on the exhibition.

Depressed by the failure, he moved to Paris where he became friends with André Breton and became involved in the Surrealist group. An illusionistic, dream-like quality is characteristic of Magritte's version of Surrealism. He became a leading member of the movement, and remained in Paris for three years.[8] In 1929 he exhibited at Goemans Gallery in Paris with Salvador Dalí, Jean Arp, de Chirico, Max Ernst, Joan Miró, Picabia, Picasso and Yves Tanguy.

On 15 December 1929 he participated in the last publication of La Revolution Surrealiste No. 12, where he published his essay "Les mots et les images", where words play with images in sync with his work The Treachery of Images.[9]

Galerie Le Centaure closed at the end of 1929, ending Magritte's contract income. Having made little impact in Paris, Magritte returned to Brussels in 1930 and resumed working in advertising.[10] He and his brother, Paul, formed an agency which earned him a living wage. In 1932, Magritte joined the Communist Party, which he would periodically leave and rejoin for several years.[10] In 1936 he had his first solo exhibition in the United States at the Julien Levy Gallery in New York, followed by an exposition at the London Gallery in 1938.

During the early stages of his career, the British surrealist patron Edward James allowed Magritte to stay rent-free in his London home, where Magritte studied architecture and painted. James is featured in two of Magritte's works painted in 1937, Le Principe du Plaisir (The Pleasure Principle) and La Reproduction Interdite, a painting also known as Not to Be Reproduced.[11]

During the German occupation of Belgium in World War II he remained in Brussels, which led to a break with Breton. He briefly adopted a colorful, painterly style in 1943–44, an interlude known as his "Renoir period", as a reaction to his feelings of alienation and abandonment that came with living in German-occupied Belgium.

In 1946, renouncing the violence and pessimism of his earlier work, he joined several other Belgian artists in signing the manifesto Surrealism in Full Sunlight.[12] During 1947–48, Magritte's "Vache period," he painted in a provocative and crude Fauve style. During this time, Magritte supported himself through the production of fake Picassos, Braques, and de Chiricos—a fraudulent repertoire he was later to expand into the printing of forged banknotes during the lean postwar period. This venture was undertaken alongside his brother Paul and fellow Surrealist and "surrogate son" Marcel Mariën, to whom had fallen the task of selling the forgeries.[13] At the end of 1948, Magritte returned to the style and themes of his pre-war surrealistic art.

In France, Magritte's work has been showcased in a number of retrospective exhibitions, most recently at the Centre Georges Pompidou (2016–2017). In the United States his work has been featured in three retrospective exhibitions: at the Museum of Modern Art in 1965, at the Metropolitan Museum of Art in 1992, and again at the Metropolitan Museum of Art in 2013. An exhibition entitled "The Fifth Season" at the San Francisco Museum of Modern Art in 2018 focused on the work of his later years.

Politically, Magritte stood to the left, and retained close ties to the Communist Party, even in the post-war years. However, he was critical of the functionalist cultural policy of the Communist left, stating that "Class consciousness is as necessary as bread; but that does not mean that workers must be condemned to bread and water and that wanting chicken and champagne would be harmful. (...) For the Communist painter, the justification of artistic activity is to create pictures that can represent mental luxury." While remaining committed to the political left, he thus advocated a certain autonomy of art.[14][15] Spiritually, Magritte was an agnostic.[16]

Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist, and conceptual art.[17] In 2005 he was 9th in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.

Personal life[edit]

Magritte married Georgette Berger in June 1922. Georgette was the daughter of a butcher in Charleroi, and first met Magritte when she was 13 and he was 15. They met again 7 years later in Brussels in 1920[18] and Georgette, who had also studied art, became Magritte's model, muse, and wife.

In 1936 Magritte's marriage became troubled when he met a young performance artist, Sheila Legge, and began an affair with her. Magritte arranged for his friend, Paul Colinet, to entertain and distract Georgette, but this led to an affair between Georgette and Colinet. Magritte and his wife did not reconcile until 1940.[19]

Magritte died of pancreatic cancer on 15 August 1967, aged 68, and was interred in Schaerbeek Cemetery, Evere, Brussels.

Philosophical and artistic gestures[edit]

It is a union that suggests the essential mystery of the world. Art for me is not an end in itself, but a means of evoking that mystery.

René Magritte on putting seemingly unrelated objects together in juxtaposition[20]

Magritte's work frequently displays a collection of ordinary objects in an unusual context, giving new meanings to familiar things. The use of objects as other than what they seem is typified in his painting,[21]The Treachery of Images (La trahison des images), which shows a pipe that looks as though it is a model for a tobacco store advertisement. Magritte painted below the pipe "Ceci n'est pas une pipe" ("This is not a pipe"),[22] which seems a contradiction, but is actually true: the painting is not a pipe, it is an image of a pipe. It does not "satisfy emotionally"—when Magritte was once asked about this image, he replied that of course it was not a pipe, just try to fill it with tobacco.[23]

Magritte used the same approach in a painting of an apple: he painted the fruit and then used an internal caption or framing device to deny that the item was an apple. In these "Ceci n'est pas" works, Magritte points out that no matter how naturalistically we depict an object, we never do catch the item itself.

Among Magritte's works are a number of surrealist versions of other famous paintings, such as Perspective I and Perspective II, which are copies of David's Portrait of Madame Récamier[24] and Manet's The Balcony,[25] respectively, but with the human subjects replaced by coffins.[26] Elsewhere, Magritte challenges the difficulty of artwork to convey meaning with a recurring motif of an easel, as in his The Human Condition series (1933, 1935) or The Promenades of Euclid (1955), wherein the spires of a castle are "painted" upon the ordinary streets which the canvas overlooks. In a letter to André Breton, he wrote of The Human Condition that it was irrelevant if the scene behind the easel differed from what was depicted upon it, "but the main thing was to eliminate the difference between a view seen from outside and from inside a room."[27] The windows in some of these pictures are framed with heavy drapes, suggesting a theatrical motif.[28]

Magritte's style of surrealism is more representational than the "automatic" style of artists such as Joan Miró. Magritte's use of ordinary objects in unfamiliar spaces is joined to his desire to create poetic imagery. He described the act of painting as "the art of putting colors side by side in such a way that their real aspect is effaced, so that familiar objects—the sky, people, trees, mountains, furniture, the stars, solid structures, graffiti—become united in a single poetically disciplined image. The poetry of this image dispenses with any symbolic significance, old or new."[29]

René Magritte described his paintings as "visible images which conceal nothing; they evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question, 'What does that mean?'. It does not mean anything, because mystery means nothing either, it is unknowable."[30]

Magritte's constant play with reality and illusion has been attributed to the early death of his mother. Psychoanalysts who have examined bereaved children have hypothesized that Magritte's back and forth play with reality and illusion reflects his "constant shifting back and forth from what he wishes—'mother is alive'—to what he knows—'mother is dead'."[31]

Artists influenced by Magritte[edit]

Contemporary artists have been greatly influenced by René Magritte's stimulating examination of the fickleness of images. Some artists who have been influenced by Magritte's works include John Baldessari, Ed Ruscha, Andy Warhol, Jasper Johns, Jan Verdoodt, Martin Kippenberger, Duane Michals, Storm Thorgerson, and Luis Rey. Some of the artists' works integrate direct references and others offer contemporary viewpoints on his abstract fixations.[32]

Magritte's use of simple graphic and everyday imagery has been compared to that of the pop artists. His influence in the development of pop art has been widely recognized,[33] although Magritte himself discounted the connection. He considered the pop artists' representation of "the world as it is" as "their error," and contrasted their attention to the transitory with his concern for "the feeling for the real, insofar as it is permanent."[33] The 2006–2007 LACMA exhibition "Magritte and Contemporary Art: The Treachery of Images" examined the relationship between Magritte and contemporary art.[34]


500 francnote showing portrait of Magritte

The 1960s brought a great increase in public awareness of Magritte's work.[17] Thanks to his "sound knowledge of how to present objects in a manner both suggestive and questioning", his works have been frequently adapted or plagiarized in advertisements, posters, book covers and the like.[35] Examples include album covers such as Beck-Ola by The Jeff Beck Group (reproducing Magritte's The Listening Room), Alan Hull's 1973 album Pipedream which used The Philosopher's Lamp, Jackson Browne's 1974 album Late for the Sky, with artwork inspired by The Empire of Light, Oregon's album Oregon referring to Carte Blanche, the Firesign Theatre's album Just Folks... A Firesign Chat based on The Mysteries of the Horizon, and Styx's album The Grand Illusion incorporating an adaptation of the painting The Blank Signature (Le Blanc Seing). The Nigerian rapper Jesse Jagz's 2014 album Jagz Nation Vol. 2: Royal Niger Company has cover art inspired by Magritte's works.[36] In 2015 the band Punch Brothers used The Lovers as the cover of their album The Phosphorescent Blues.

The logo of Apple Corps, The Beatles' company, is inspired by Magritte's Le Jeu de Mourre, a 1966 painting.

Paul Simon's song "Rene and Georgette Magritte with Their Dog after the War," inspired by a photograph of Magritte by Lothar Wolleh, appears on the 1983 album Hearts and Bones.

John Cale wrote a song titled "Magritte". The song appears on the 2003 album HoboSapiens.

Tom Stoppard wrote a 1970 Surrealist play called After Magritte.

John Berger scripted the book Ways of Seeing using images and ideologies regarding Magritte. Douglas Hofstadter's 1979 book Gödel, Escher, Bach uses Magritte works for many of its illustrations. The Treachery of Images was used in a major plot in L. J. Smith's 1994 novel The Forbidden Game.

Magritte's imagery has inspired filmmakers ranging from the surrealist Marcel Mariën to mainstream directors such as Jean-Luc Godard, Alain Robbe-Grillet, Bernardo Bertolucci, Nicolas Roeg, John Boorman and Terry Gilliam.[37][38][39]

According to Ellen Burstyn, in the 1998 documentary The Fear of God: 25 Years of "The Exorcist", the iconic poster shot for the film The Exorcist was inspired by Magritte's L'Empire des Lumières.

In the 1992 movie Toys, Magritte's work was influential in the entire movie but specifically in a break-in scene, featuring Robin Williams and Joan Cusack in a music video hoax. Many of Magritte's works were used directly in that scene.

In the 1999 movie The Thomas Crown Affair starring Pierce Brosnan, Rene Russo and Denis Leary, the Magritte painting The Son of Man was prominently featured as part of the plot line.

Gary Numan's 1979 album The Pleasure Principle was a reference to Magritte's painting of the same name.

In John Green's fictional novel (2012) and movie (2014), The Fault in Our Stars, the main character Hazel Grace Lancaster wears a tee shirt with Magritte's, The Treachery of Images, (This is not a pipe.) Just prior to leaving her mother to visit her favorite author, Hazel explains the drawing to her confused mother and states that the author's novel has "several Magritte references", clearly hoping the author will be pleased with the reference.

The official music video of Markus Schulz's "Koolhaus" under his Dakota guise was inspired from Magritte's works.[40]

A street in Brussels has been named Ceci n'est pas une rue (This is not a street).[41]

Magritte Museum and other collections[edit]

Main article: Magritte Museum

The Magritte Museum opened to the public on 30 May 2009 in Brussels.[42] Housed in the five-level neo-classical Hotel Altenloh, on the Place Royale, it displays some 200 original Magritte paintings, drawings and sculptures[43] including The Return, Scheherazade and The Empire of Light.[44] This multidisciplinary permanent installation is the biggest Magritte archive anywhere and most of the work is directly from the collection of the artist's widow, Georgette Magritte, and from Irene Hamoir Scutenaire, who was his primary collector.[45] Additionally, the museum includes Magritte's experiments with photography from 1920 on and the short Surrealist films he made from 1956 on.[45]

Another museum is located at 135 Rue Esseghem in Brussels in Magritte's former home, where he lived with his wife from 1930 to 1954. Olympia (1948), a nude portrait of Magritte's wife reportedly worth about US$1.1 million, was stolen from this museum on the morning of 24 September 2009 by two armed men.[46][47][48] It was returned to the museum in January 2012, in exchange for a 50,000-Euro payment from the museum's insurer. The thieves reportedly agreed to the deal because they were unable to sell the painting on the black market due to its fame.[49]

The Menil Collection in Houston, Texas holds one of the most significant collections of dada and surrealist work in the United States, including dozens of oil paintings, gouaches, drawings, and bronzes by René Magritte. John de Menil and Dominique de Menil initiated and funded the catalogue raisonné of Magritte's oeuvre, published between 1992 and 1997 in five volumes, with an addendum in 2012. Major oil paintings in the Menil Collection include: The Meaning of Night (1927), The Eternally Obvious (1930), The Rape (1934), The Listening Room (1952), and Golconda (1953) which are typically exhibited a few at a time on a rotating basis with other surrealist works in the collection.[50]

Selected list of works[edit]

Main article: List of paintings by René Magritte

  • 1920 Landscape
  • 1922 The Station and L'Écuyère
  • 1923 Self-portrait, Sixth Nocturne, Georgette at the Piano and Donna
  • 1925 The Bather and The Window
  • 1926 The Lost Jockey, The Mind of the Traveler, Sensational News, The Difficult Crossing, The Vestal's Agony, The Midnight Marriage, The Musings of a Solitary Walker, After the Water my Butts, Popular Panorama, Landscape and The Encounter
  • 1927 The Enchanted Pose
  • 1927 Young Girl Eating a Bird, The Oasis (started in 1925), Le Double Secret, The Meaning of Night, Let Out of School, The Man from the Sea, The Tiredness of Life, The Light-breaker, A Passion for Light, The Menaced Assassin, Reckless Sleeper, La Voleuse, The Fast Hope, L'Atlantide and The Muscles of the Sky
  • 1928 The Lining of Sleep (started in 1927), Intermission (started in 1927), The Adulation of Space (started in 1927), The Flowers of the Abyss, Discovery, The Lovers I & II,[3]The Voice of Space, The False Mirror, The Daring Sleeper, The Acrobat's Ideas, The Automaton, The Empty Mask, Reckless Sleeper, The Secret Life and Attempting the Impossible
  • 1929 The Treachery of Images (started in 1928), Threatening Weather and On the Threshold of Liberty
  • 1930 Pink Belles, Tattered Skies, The Eternally Obvious, The Lifeline, The Annunciation and Celestial Perfections
  • 1931 The Voice of the Air, Summer and The Giantess
  • 1932 The Universe Unmasked
  • 1933 Elective Affinities, The Human Condition and The Unexpected Answer
  • 1934 The Rape
  • 1935 The Discovery of Fire, The Human Condition, Revolution, Perpetual Motion, Collective Invention and The Portrait
  • 1936 Surprise Answer, Clairvoyance, The Healer, The Philosopher's Lamp, The Heart Revealed a portrait of Tita Thirifays, Spiritual Exercises, Portrait of Irène Hamoir, La Méditation and Forbidden Literature
  • 1937 The Future of Statues, The Black Flag, Not to be Reproduced, Portrait of Edward James and Portrait of Rena Schitz, On the Threshold of Liberty
  • 1938 Time Transfixed, The Domain of Arnheim, Steps of Summer and Stimulation Objective
  • 1939 Victory, The Palace of Memories
  • 1940 The Return, The Wedding Breakfast and Les Grandes Espérances
  • 1941 The Break in the Clouds
  • 1942 Misses de L'Isle Adam, L'Ile au Tréson, Memory, Black Magic, Les compagnons de la peur and The Misanthropes
  • 1943 The Return of the Flame, Universal Gravitation and Monsieur Ingres's Good Days
  • 1944 The Good Omens
  • 1945 Treasure Island, Les Rencontres Naturelles and Black Magic
  • 1946 L'Intelligence and Les Mille et une Nuits
  • 1947 La Philosophie dans le boudoir, The Cicerone, The Liberator, The Fair Captive, La Part du Feu and The Red Model
  • 1948 Blood Will Tell, Memory, The Mountain Dweller, The Art of Life, The Pebble, The Lost Jockey, God's Solon, Shéhérazade, L'Ellipse and Famine and The Taste of Sorrow
  • 1949 Megalomania, Elementary Cosmogony, and Perspective, the Balcony
  • 1950 Making an Entrance, The Legend of the Centuries, Towards Pleasure, The Labors of Alexander, The Empire of Light II, The Fair Captive and The Art of Conversation, The Survivor
  • 1951 David's Madame Récamier (parodying the Portrait of Madame Récamier), Pandora's Box, The Song of the Violet, The Spring Tide and The Smile
  • 1952 Personal Values and Le Sens de la Pudeur and The Explanation
  • 1953 Golconda, The Listening Room and a fresco, The Enchanted Domain, for the Knokke Casino, Le chant des sirènes
  • 1954 The Invisible World and The Empire of Light
  • 1955 Memory of a Journey and The Mysteries of the Horizon
  • 1956 The Sixteenth of September; The Ready-made Bouquet
  • 1957 The Fountain of Youth; The Enchanted Domain
  • 1958 The Golden Legend, Hegel's Holiday, The Banquet and The Familiar World
  • 1959 The Castle in the Pyrenees, The Battle of the Argonne, The Anniversary, The Month of the Grape Harvest and La clef de verre (The Glass Key)
  • 1960 The Memoirs of a Saint
  • 1962 The Great Table, The Healer, Waste of Effort, Mona Lisa (circa 1962) and L'embeillie (circa 1962)
  • 1963 The Great Family, The Open Air, The Beautiful Season, Princes of the Autumn, Young Love, La Recherche de la Vérité and The Telescope and " The Art of Conversation"
  • 1964 Le soir qui tombe (Evening Falls), The Great War, The Great War on Facades, The Son of Man and Song of Love
  • 1965 Le Blanc-Seing,Carte Blanche, The Thought Which Sees, Ages Ago and The Beautiful Walk (circa 1965), Good Faith
  • 1966 The Shades, The Happy Donor, The Gold Ring, The Pleasant Truth, The Two Mysteries, The Pilgrim and The Mysteries of the Horizon
  • 1967 Les Grâces Naturelles, La Géante, The Blank Page, Good Connections, The Art of Living, L'Art de Vivre and several bronze sculptures based on Magritte's previous works

See also[edit]


  1. ^ abMeuris 1991, p 216.
  2. ^ abcdCalvocoressi 1990, p. 9.
  3. ^ ab"National Gallery of Australia | Les Amants [The lovers]". Retrieved 14 October 2010.
  4. ^ abSolomon R. Guggenheim Museum, René Magritte
  5. ^Gisèle Ollinger-Zinque and Frederik Leen (Ed.), Magritte, 1898-1967, Musées royaux des beaux-arts de Belgique, Ludion Press, 1998, p. 308
  6. ^Marler, Regina (25 October 2018). "Every Time I Look at It I Feel Ill". New York Review of Books. ISSN 0028-7504. Retrieved 22 January 2019.
  7. ^Cassou, Jean (1984) The Concise Encyclopaedia of Symbolism. Chartwell Books, Inc. Secaucus, New Jersey. 292 pp. ISBN 0-89009-706-2
  8. ^Barnes, Rachel (2001). The 20th-Century Art Book (Reprinted. ed.). London: Phaidon Press. ISBN .
  9. ^"Revolution surrealiste nb 12"(PDF).
  10. ^ abMeuris 1991, p. 217.
  11. ^"Professor Bram Hammacher", The Edward James Foundation souvenir guide, edited Peter Sarginson, 1992.
  12. ^Meuris 1991, p. 218.
  13. ^Lambith, Andrew (28 February 1998). "Ceci n'est pas an artist". The Independent. London. Retrieved 22 May 2010.
  14. ^"René Magritte on the Revolutionary Artist vs. Folk Art & Stalinism". Retrieved 28 June 2014.
  15. ^"Musee Magritte Museum". Archived from the original on 3 September 2014. Retrieved 28 June 2014.
  16. ^Jacques Meuris (1994). René Magritte, 1898-1967. Benedikt Taschen. p. 70. ISBN .
  17. ^ abCalvocoressi 1990, p. 26.
  18. ^"René Magritte: This is Not A Biography". Matteson Art. Retrieved 22 September 2015.
  19. ^"René Magritte: This is Not A Biography (1939-1940 Marital Difficulties- World War II Approaches)". Matteson Art. Retrieved 22 September 2015.
  20. ^Glueck, Grace, "A Bottle Is a Bottle"; The New York Times, 19 December 1965.
  21. ^"René Magritte le maître surréaliste | PM". PM (in French). 18 November 2016. Retrieved 18 November 2016.
  22. ^"René Magritte the Surrealist Master | Surreal Artists". Surreal Artists. 24 May 2017. Retrieved 27 May 2017.
  23. ^Spitz 1994, p.47
  24. ^"Proud Coffin: René Magritte's Perspective: Madame Récamier by David". National Gallery of Canada. Retrieved 20 April 2021.
  25. ^"René Magritte: Perspective II, Manet's Balcony". Museum of Fine Arts, Ghent. Retrieved 20 April 2021.
  26. ^Meuris 1991, p. 195.
  27. ^Sylvester 1992, p.298
  28. ^Spitz 1994, p.50
  29. ^Frasnay, Daniel. The Artist's World. New York: The Viking Press, 1969. pp. 99-107
  30. ^"Flanders - New Magritte Museum Brussels". Retrieved 29 March 2009.
  31. ^Collins, Bradley I. Jr. "Psychoanalysis and Art History". Art Journal, Vol. 49, No. 2, College Art Association, pp. 182-186.
  32. ^Amra Brooks (27 December 2006). "Los Angeles: Magritte by Baldessari, Road Trips and Rock 'n' Roll". ARTINFO. Retrieved 24 April 2008.
  33. ^ abMeuris 1991, p. 202.
  34. ^Stephanie Brown (2006). "Magritte and Contemporary Art: The Treachery of Images". Los Angeles county Museum of Art and Ludion.
  35. ^Meuris 1991, pp. 199–201.
  36. ^"The Miseducation of Jesse Jagz – "Jagz Nation Vol 2: The Royal Niger Company"". 21 March 2014. Retrieved 14 April 2014.
  37. ^Levy 1997, p. 105.
  38. ^Bertolucci, Gérard, & Kline 2000, p. 53.
  39. ^Fragola & Smith 1995, p. 103.
  40. ^"Dakota - Koolhaus (Official Music Video)". Armada Music. 6 September 2010. Retrieved 19 March 2018.
  41. ^The Economist 12 January 2019 p.31.
  42. ^Magritte Museum
  43. ^"Two New Museums for Tintin and Magritte". Time. 30 May 2009. Archived from the original on 11 June 2009. Retrieved 30 May 2009.
  44. ^Victor Zak October 2009 page 20 Westways Magazine
  45. ^ abOisteanu, Valery. "Magritte, Painter-Philosopher". The Brooklyn Rail (July–August 2010).
  46. ^Chrisafis, Angelique (24 September 2009). "Magritte painting stolen at gunpoint". The Guardian. Retrieved 27 November 2019.
  47. ^NY Times. Retrieved 24 September 2009.
  48. ^ retrieved 5 January 2012
  49. ^"Did Paying a Ransom for a Stolen Magritte Painting Inadvertently Fund Terrorism?". Vanity Fair. 27 May 2021. Retrieved 7 June 2021.
  50. ^The Menil Collection: Surrealism (accessed December 17, 2020)
  • Alden, Todd (1999). The Essential Magritte. Two Editions. ISBN .
  • Allmer, Patricia (2009). René Magritte - Beyond Painting. Manchester: Manchester University Press. ISBN .
  • Allmer, Patricia (2017) This Is Magritte London: Laurence King. ISBN 9781780678504
  • Allmer, Patricia (2007), 'Dial M for Magritte' in "Johan Grimonprez - Looking for Alfred", eds. Steven Bode and Thomas Elsaesser, London: Film and Video Umbrella.
  • Allmer, Patricia (2007), 'René Magritte and the Postcard' in "Collective Inventions: Surrealism in Belgium Reconsidered", eds. Patricia Allmer and Hilde van Gelder, Leuven: Leuven University Press.
  • Allmer, Patricia (2007) 'Failing to Create - Magritte, Artistry, Art History' in From Self to Shelf: The Artist Under Construction, ed. William May, Cambridge: Cambridge Scholars Publishing.
  • Allmer, Patricia (2006) 'Framing the Real: Frames and the Process of Framing in René Magritte's Œuvre', in Framing Borders in Literature and Other Media, eds. Walter Bernhart and Werner Wolf, Amsterdam: Rodopi.
  • Bertolucci, Bernardo; Gérard, F. S.; Kline, T. J. (2000). Bernardo Bertolucci: Interviews. Jackson: Miss. ISBN .
  • Calvocoressi, Richard (1990). Magritte. New York: Watson-Guptill. ISBN .
  • Fragola, Anthony; Smith, Roch C. (1995). The Erotic Dream Machine: Interviews with Alain Robbe-Grillet on His Films. SIU Press. ISBN .
  • Kaplan, Gilbert E. & Baum, Timothy (1982). The Graphic Work of René Magritte. Two Editions. ISBN .
  • Levy, Silvano (1997). Surrealism: Surrealist visuality. Edinburgh: Keele University Press. ISBN .
  • Levy, Silvano (2015). Decoding Magritte. Bristol: Sansom & Co. ISBN .
  • Levy, Silvano (1996) 'René Magritte: Representational Iconoclasm', in Surrealist Visuality, ed. S. Levy, Keele University Press. ISBN 1-85331-170-7.
  • Levy, Silvano (2012) 'Magritte et le refus de l'authentique', Cycnos, Vol. 28, No. 1 (July 2012), pp. 53–62. ISBN 978-2-296-96098-5.
  • Levy, Silvano (2005) 'Magritte at the Edge of Codes', Image & Narrative, No. 13 (November 2005), 1780-678X.
  • Levy, Silvano (1993) 'Magritte, Mesens and Dada', Aura, No. 1, 11 pp. 31 41. ISSN 0968-1736.
  • Levy, Silvano (1993) 'Magritte: The Uncanny and the Image', French Studies Bulletin, No. 46, 3 pp. 15 17. ISSN 0262-2750.
  • Levy, Silvano (1992) 'Magritte and Words', Journal of European Studies, Vol. 22, Part 4, No. 88, 19 pp. 313 321. ISSN 0047-2441.
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  • Levy, Silvano (1990) 'Foucault on Magritte on Resemblance', Modern Language Review, Vol. 85, No.1, 7 pp. 50 56. ISSN 0026-7937.
  • Levy, Silvano (1981) 'René Magritte and Window Display', Artscribe International, No. 28, 5 pp. 24 28. ISSN 0309-2151.
  • Levy, Silvano (1992) 'This is a Magritte', The Times Higher Education Supplement, No. 1,028, 17 July 1992, 1 p. 18. ISSN 0049-3929.
  • Meuris, Jacques (1991). René Magritte. Cologne: Benedikt Taschen. ISBN .
  • Roisin, Jacques (1998). Ceci n'est pas une biographie de Magritte. Bruxelles: Alice Editions. ISBN .
  • Spitz, Ellen Handler (1994). Museums of the Mind. Yale University Press. ISBN .
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External links[edit]


Magritte landscapes rene

Rene Magritte and his paintings

Rene Magritte Photo

Rene Magritte was an internationally acclaimed surrealist artist of all time, yet it was not until his 50s, when he was finally able to reach some form of fame and recognition for his work. Rene Magritte described his paintings saying, "My painting is visible images which conceal nothing; they evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question, 'What does that mean?' It does not mean anything, because mystery means nothing, it is unknowable."

Rene Magritte was born in 1898, to a wealthy manufacturer father. In 1912, his mom was found drowned in the River Sambre. She had committed suicide, and the family was publicly humiliated because of it. From 1916 to 1918, Rene decided to study at the Academie des Beaux-Art, which was located in Brussels. He left the school, because he thought that it was a waste of time. All his paintings afterward reflect cubism, the movements which were introduced by Pablo Picasso and was very popular at the time. In 1922 he married Georgette, and took a number of small jobs, including painting cabbage roses for a wallpaper company, in order to be able to pay the bills.

During the early period of his career, shortly following his marriage, Rene Magritte would spend the free time that he had, creating art forms and worked on a number of pieces; it was during this time period that he realized surrealism was the art form which he most enjoyed. The Menaced Assassin was one of his earliest pieces in 1926, which showcased the surrealist style which he had been working on; The Lost Jockey was another piece that he introduced in 1925, which also showcased this art form. Over the course of his career, he produced a number of variants on this piece, and changed the format to recreate what the viewer was experiencing.

In 1927, Rene Magritte had his first one-man show, which took place at the Galerie la Centauri in Brussels. During this period of his life, he was producing nearly one piece of art work each day, which made for an extensive showing, and a variety of unique styles for visitors of the exhibit to see. But critics heaped abuse on the exhibition. Depressed by the failure, he moved to Paris.

In 1920s, influenced by the writings of psychologist Sigmund Freud, the literary, intellectual, and artistic movement called Surrealism sought a revolution against the constraints of the rational mind; and by extension, they saw the rules of a society as oppressive. Surrealism also embraces a Marxist ideology that demands an orthodox approach to history as a product of the material interaction of collective interests, and many renowned Surrealism artists, later on, became 20th-century Counterculture symbols such as Marxist Che Guevara.

After moving to Paris, Rene Magritte became friends with artist Andre Breton, the founder of Surrealism, and became a leading figure in the visual Surrealist movement. In about the same time, influenced by de Chirico's paintings between 1910 and 1920, Magritte start to paint erotically explicit objects juxtaposed in dreamlike surroundings. His works defined a split between the visual automatism fostered by Joan Miro and a new form of illusionistic Surrealism practiced by the Spaniard Salvador Dali.

Everything we see hides another thing, we always want to see what is hidden by what we see. ”

- Rene Magritte

To Magritte, what is concealed is more important than what is open to view: this was true both of his own fears and of his manner of depicting the mysterious. If he wrapped a body in linen, if he spread curtains or wall-hangings, if he concealed heads under hoods, then it was not so much to hide as to achieve an effect of alienation. He employed this technique at a very early stage, for example, The Invention of Life, The Lover, and The Central Story, these are certainly his major works.

During the German occupation of Belgium in World War II, Magritte remained in Brussels, which led to a break with fellow artist Andre Breton. After the fallout with Breton, Rene Magritte briefly adopted a colorful, painterly style in 1943-44, an interlude known as his "Renoir Period", as a reaction to his feelings of alienation and abandonment that came with living in German-occupied Belgium. During this time, Magritte supported himself through the production of fake paintings of Vincent van Gogh, Picasso, and Cezanne - this venture was later taken over by his brother Paul Magritte.

Rene Magritte stayed in Brussels for the remainder of his life. During the majority of his career, his work followed a surrealist style, and he very rarely, if ever, strayed away from this form. Much of the work he created depicted similar scenes, and recurring themes. Some of his favorites were floating rocks, or creating a painting within a painting, and he also used many inanimate objects, within a human figure, creating the distinct styles which other artists did not.

During the course of his career, Rene Magritte would also use famous paintings, which were created by other artists, to put his own surrealist twist on it. One of the works he did, was to recreate The Balcony (a piece after the masterpiece of the same name, by Edouard Manet ), and in this piece he replaced the figures that were in the image, with coffins. This, was one way for Magritte to showcase his style, and to create a unique design, forcing viewers of his pieces, to look outside of the norm, and focus on the distinctive features which were not originally present.

If the dream is a translation of waking life, waking life is also a translation of the dream. ”

- Rene Magritte

Along the similar lines, and with a focus on the surrealist style which he stayed true to, during his career, Rene Magritte began to work on sculptures at a later part of his career as well. He had a playful and provocative sense of humor, which worked in many of the pieces which he created, and which became some of his most well-known pieces throughout the course of his career. One such example of this is the series of pipe paintings which he created. The fascination he had with a paradoxical world, is clearly seen when you view the entire series as a whole piece, rather than viewing the images on their own.

Although in recent years many of the works created by Rene Magritte have been on exhibit, during the course of his career he also had certain features exhibited in Brussels, as well as around the world. In 1936, one exhibit was held in New York City, and following this, two retrospective exhibits were also held. One was in 1965, at the Museum of Modern Art, and a second was held in 1992, at the Metropolitan Museum of Art.

Not only were a number of artists intrigued by, and influenced by the work Rene Magritte created, but popular culture, and the art world in general, were extremely influenced by his creative, and unique ability to take something so ordinary, yet make viewers of his pieces see something completely different. His ability to present figures in a suggestive, yet questioning manner, made his work extremely desirable, especially during the 1960s. In fact, much of his work has been plagiarized and used in books, print ads, and other manners, due to the distinct style, and the inability of artists to create in a similar manner.

Although he died in 1967, of pancreatic cancer, much of the work of Rene Magritte is still on display today, in his hometown, and around the world. Not only did he introduce a new style, but he was also a leader in the surrealist style. Along with Dali's Persistence of Memory, Magritte's masterpieces The Son of Man and The Treachery of Images become the iconic images of the Surrealism movement. Magritte brought an entirely new way of looking at art, with the paintings, as well as some of the sculptures which he created, during the course of his career.

MAGRITTE 1000 A collection of 1000 RENE MAGRITTE paintings

This look seemed to carry the invincible energy of primitive desire. The desire to possess. Marinochka, a beauty, a doll, a smart girl, a sweetheart and a bunny was just another female for the owner of such a look. He saw in her only beautiful legs, rounded hips, a round ass, elastic breasts, a slightly naive, tender face, plump lips, an.

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A red plastic basket, my leggings, only here I seemed somehow twisted, as if looking into a distorted mirror. Why did I remember the frames from the cartoon about the wolf and the hare. As a child, my parents loved to include him, although I loved Tom and Jerry more. I noticed another figure next to me.

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