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(after) René MagritteUne Jeune Femme Presente Avec Grace, from Les Enfants Trouves1953, published 1968
1953, published 1968
About the Item
This artwork titled "" Une Jeune Femme Presente Avec Grace" from the suite" Les Enfants Trouves created in 1953 and printed/published in 1968 in an edition of 350. This artwork come from the edition numbered 239/350 on the colophon of the suite. It is a color lithograph on paper by renown Belgian artist, Rene Magritte 1898-1967. It is signed in the stone by the artist and signed in pencil at the lower right corner by the printer, Fernand Mourlot. Published by A.C Mazo, Paris, France and printed by Fernand Mourlot, Paris, France. The image size is 12.5 x 17.75 inches, sheet size is 17.5 23.5 inches, framed size is 24.5 x 28.75 inches. Framed in a custom wooden gold frame, with fabric matting and gold color spacer. It is in excellent condition.
About the artist.
Rene Magritte was born on the 21st November, 1898 in Hainaut, Belgium. His father was a tailor and a merchant. As his business did not go well the family had to move often. René lost his mother early and tragically - she committed suicide for unclear reasons. René was only 14 years old at the time.
From 1916 through 1918 Magritte studied in the Royal Academy of Arts in Brussels (Académie Royale des Beaux-Arts). He became a wallpaper designer and commercial artist. His early painting works were executed under the influence of the Cubism and Futurism (1918-20), then he was inspired by the Purists and Fernand Léger. In 1922 Magritte married Georgette Berger, with whom he first became acquainted when fifteen years old. After meeting again in 1920, she became his model and then wife.
The friendship with Giorgio de Chirico's and Dadaistic poetry constituted an important artistic turning-point for Magritte. In 1925 he came close with a group of Dadaists and co-operated in the magazines Aesophage and Marie, together with E.L.T. Mesens, Jean Arp, Francis Picabia, Schwitters, Tzara and Man Ray.
In 1926 Magritte painted The Lost Jockey, it is his first painting that he allowed to be labeled as "Surrealist". After his first, badly-received, one-man show in Brussels in 1927, he left for Paris. In 1927-30 Magritte lived in France, where he participated in the activities of the Surrealists, establishing a close friendship in particular with Max Ernst, Dali, André Breton and especially with Paul Eluard.
In Paris, Magritte's system of conceptual painting was formed, it remained almost unchanged until the end of his life.
Demonstrating the problems of visual perception and illusionary of images, Magritte used the symbols of mirrors, eyes, windows, stages and curtains and pictures within pictures (The False Mirror, 1935, The Key to the Fields. 1936, Beautiful World. 1962.)
In the 1950s Magritte executed two fresco cycles: The Enchanted Realm for a casino in Knokke-le-Zut (1953) and The Ignorant Fairy (1957) for the Palais des Beaux-Arts in Charleroi. These monumental compositions repeat the motifs of his previous paintings. In his last year Magritte began to make sculptures of his painted images. Rene Magritte’s work is held in numerous major museums and collections worldwide. Magritte died of pancreatic cancer on 15 August 1967, and was interred in Schaerbeek Cemetery, Evere, Brussels.
- Creator:(after) René Magritte (1898 - 1967, Belgian)
- Creation Year:1953, published 1968
- Dimensions:Height: 24.5 in (62.23 cm)Width: 28.75 in (73.03 cm)Depth: 1.35 in (3.43 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:San Francisco, CA
- Reference Number:
(after) René Magritte
Rene Magritte was born in Lessines, in 1898. Magritte's earliest oil paintings, which date from about 1915, were Impressionistic in style. From 1916 to 1918 he studied at the Academie Royale des Beaux-Arts in Brussels, under Constant Montald, but found the instruction uninspiring. The oil paintings he produced during the years 1918-1924 were influenced by Futurism and by the offshoot of Cubism practiced by Metzinger. Most of his works of this period are female nudes. In 1922 Magritte married Georgette Berger, whom he had met as a child in 1913. From December 1920 until September 1921, Magritte served in the Belgian infantry in the Flemish town of Beverlo near Leopoldsburg. In 1922-1923, he worked as a draughtsman in a wallpaper factory, and was a poster and advertisement designer until 1926, when a contract with Galerie la Centaure in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal oil painting, The Lost Jockey (Le jockey perdu), and held his first exhibition in Brussels in 1927. Critics heaped abuse on the exhibition. Depressed by the failure, he moved to Paris where he became friends with Andre Breton, and became involved in the surrealist group. 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. 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 painting of Picasso, van Gogh, Manet and Paul Cezanne - 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 Magritte and fellow Surrealist and 'surrogate son' Marcel Marien, to whom had fallen the task of selling the forgeries. At the end of 1948, he returned to the style and themes of his prewar surrealistic art. Magritte wished to cultivate an approach that avoided the stylistic distractions of most modern painting. While French Surrealists experimented with new techniques, Magritte settled on a deadpan, illustrative technique that clearly articulated the content of his pictures. Repetition was an important strategy for Magritte, informing not only his handling of motifs within individual pictures, but also encouraging him to produce multiple copies of some of his greatest works. His interest in the idea may have come in part from Freudian psychoanalysis, for which repetition is a sign of trauma. But his work in commercial art may have also played a role in prompting him to question the conventional modernist belief in the unique, original work of art.
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