René Magritte (1898-1967), after

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lot/rene magritte 1898 1967 after the empire of light gVvd6or 633381505

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René Magritte (1898-1967), after - The Empire of Light

René Magritte - The Empire of Light / The Realm of Lights - Offset printing/poster print - 70 x 50 cm Name: René Magritte Title: The Empire of Light / The Realm of Lights Type: Original art poster - High-quality offset print/poster print based on the original work from 1954 Publisher: KMSKB - Magritte Foundation - Standaard Uitgeverij Style: Modern - Surrealism Characteristics: - Perfect condition: A+ - 70 x 50 cm - Signed in print - Based on the original work by Magritte from 1954 EXTRA INFO ABOUT THE ARTIST: René François Ghislain Magritte (Lessines, November 21, 1898 – Schaerbeek, August 15, 1967) was a Belgian surrealist painter. René Magritte initially worked as a designer at a wallpaper factory and later also made many posters. Magritte’s debut in painting was Cubist, Futurist, and abstract work, influenced by his supervisor Victor Servranckx at the wallpaper factory UPL (Les Usines Peters-Lacroix, in Machelen). After encountering Giorgio de Chirico’s work in 1925, Magritte began to absorb surrealist elements. De Chirico depicted objects in a very realistic way, but in entirely different causal and temporal contexts. Thus, De Chirico emphasizes the mystery of the world of objects. The conventional order and placement of things are also ironized in this way. Magritte largely created paintings (oil on canvas), but also gouaches, objects, and collages. Under the leadership of E.L.T. Mesens, he contributed to the magazine Oesophage and in 1927 had his first solo exhibition at the gallery "Le Centaure" in Brussels. Between 1927 and 1930 Magritte stayed in a suburb of Paris, where his surrealist vision was crowned by the friendship of Paul Éluard and André Breton, who had written the Surrealist Manifesto in 1924. When Breton once insisted that Magritte’s wife remove a cross from a necklace, he decided to return to Brussels.[1] When in 1930 the "Galerie Le Centaure", where Magritte worked under contract, went bankrupt, E.L.T. Mesens could buy all of his works, at that time about 200. In 1934 Magritte and his entourage applied the technique of the cadavre exquis to images following the language experiments in which a poem is written by multiple poets. Between 1934 and 1937 Magritte drew under the pseudonym 'Emair' film posters for the German sound film distributor Tobis Klangfilm. The City Archive of Leuven preserves seven posters designed by Magritte. During World War II Magritte worked and lived in Carcassonne, France. He forged art to support himself. It mainly involved works by De Chirico, Picasso, and Braque.[1] During a short period, between 1940 and 1946, Magritte enriched his palette somewhat with an impressionistic accent (the so-called 'Renoir period') on the advice of his agent. This style would sell better. In 1945, after returning to Belgium, he joined the Communist Party of Belgium. In 1948 he briefly painted in a cartoon-like style, but also unsuccessfully.[1] But soon Magritte returned to his earlier, almost photorealistic style, somewhat more aggressive, due to the turbulent relationship with his former surrealist circle (Goemans, Scutenaire, Nougé, Lecomte, Souris, E.L.T. Mesens). Magritte’s black humor often led him to morbid figuration, further surrealized by sometimes impossibly unlikely names he gave to his works. In 1953 Magritte created wall paintings in the Casino in Knokke on the Belgian coast, commissioned by the Nellens family. These are now protected by the Royal Commission for Monuments and Landscapes. In 1960 he was awarded the Belgian State Prize for all his work. It was the first time the State Prize was awarded to a painter. In the 1950s Magritte’s work was very popular with New York collectors. This explains the large presence today of Magritte’s work in American collections. Also his best-known icon La Trahison des Images is there. Magritte died in 1967 in Schaerbeek from pancreatic cancer, where he is also buried in the municipal cemetery. The majority of Magritte’s oeuvre, in terms of style, belongs to Surrealism, one of the major art movements of the 20th century. In many of his works there are nude women and realistically painted fish. This is probably a reference to the fact that Magritte found his mother naked in the Sambre after she had committed suicide. Magritte’s work, like that of Salvador Dalí and Carel Willink, is painted very finely, which emphasizes the realistic effect of otherwise non-existent scenes in reality. The best-known work by Magritte is without any doubt La Trahison des Images (1928–29) or "The Treachery of Images" with the painted text: Ceci n’est pas une pipe under the highly realistic image of a pipe. In this work, René Magritte paints a pipe with the message beneath: 'This is not a pipe' (Ceci n’est pas une pipe). He wants to remind himself and the viewer that this is a painting, a painted canvas, and not a real pipe. Any reference to a real pipe betrays the fact that a pipe is actually an idea and thus has its origin in the mind. By continually questioning ourselves and as if misleading ourselves, Magritte forces us to think about art. In this light, the titles of Magritte’s works can also be seen. These titles usually have nothing to do with the subject of the painting. Later conceptual artists took this line to the extreme with an installation, a performance, or a happening and reduced the artwork to an idea. This is also a critique of artists who believe they must depict reality so truthfully, like the later hyperrealists. René Magritte believed that it is the painter’s task to place reality in a different framework. His art always raises more questions than it can answer. This is evidenced by the painting of a mermaid, depicted with a fish head and human legs. Also characteristic is the painting of a very realistically depicted fish that at the tail end changes into a burning cigar with curling smoke (painting "l’Exception" 1963). Magritte’s work also demonstrates an extremely high mastery of the technique of painting in oil on canvas. Much of Magritte’s work shows metamorphosis, a transformation of one object into another. Or the work is impossible in other respects, for example the series of houses at night, with a bright sky above in daylight. Or a moon hanging behind the leaves of a tree. Owls or other birds emerging from the ground as plants. He is related to the following artists: Morris Louis Yves Klein Lucio Fontana Piet Mondrian Niki de Saint Phalle Otto Piene Heinz Mack Kazimir Malevich Jean Tinguely Rainer Maria Latzke Jef Verheyen Pol Bury Walter Leblanc Rene Magritte André Racz Pierre Alechinsky Victor Vasarely Georges Vantongerloo Yves Klein Otto Piene Heinz Mack Lucio Fontana Piero Manzoni Jesús Rafael Soto Victor Vasarely Karl Otto Götz Gerhard Richter Anselm Kiefer Georg Baselitz Jannis Kounellis Cy Twombly Antoni Tàpies Hans Hartung Pierre Soulages Mark Rothko Kazuo Shiraga Bridget Riley Agostino Bonalumi Jean Tinguely Niki de Saint Phalle Guy Vandenbranden Marcel Duchamp Joseph Beuys Jean Tinguely Alexander Calder Nam June Paik Claes Oldenburg Chris Burden Richard Buckminster Fuller Karel Appel Asger Jorn Constant Nieuwenhuys Corneille Jean Dubuffet Jackson Pollock Willem de Kooning Hans Hartung Joan Miró Antoni Tàpies Sam Francis Franz Kline Mark Tobey André Masson Lucio Fontana Eduardo Chillida Kazuo Shiraga Zao Wou-Ki

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