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(after) René MagritteSurrealist Dream Lithograph Belgian Master Magritte Pencil Signed by Mourlot1968
1968
About the Item
Artist: Rene Magritte (after), Belgian (1898 - 1967)
Title: (from les Enfants Trouvés) Les Claires-Voies d'un Jeune Regard Embaument La Fête d'un Vieil Arbre
Year of original painting: 1952
Year of Lithograph Printing: 1968
Paper: Velin d'Arches
Medium: Lithograph, initialed by hand in pencil 'F.M' by the printer Fernand Mourlot signed on the stone “Magritte”.
Image Size: 11 x 19 inches
Frame: 24.63 x 28.63 inches
Limited edition of 350, each sheet was not individually numbered
René François Ghislain Magritte 1898 – 1967, was a Belgian Surrealist artist. He 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.
Magritte's earliest paintings, which date from about 1915, were Impressionist in style. During 1916–1918, he studied at the Académie Royale des Beaux-Arts in Brussels, under Constant Montald, but found the instruction uninspiring. The paintings he produced during 1918–1924 were influenced by Futurism and by the figurative Cubism of Jean Metzinger. In 1922, Magritte married Georgette Berger, whom he had met as a child in 1913. Also during 1922, the poet Marcel Lecomte showed Magritte a reproduction of Giorgio de Chirico's "The Song of Love". 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." 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. In 1929 he exhibited at Goemans Gallery in Paris with Salvador Dali, Jean Arp, de Chirico, Max Ernst, Joan Miro, Picabia, Picasso and Yves Tanguy.
Magritte returned to Brussels in 1930 and resumed working in advertising. 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.
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.
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.
- Creator:(after) René Magritte (1898 - 1967, Belgian)
- Creation Year:1968
- Dimensions:Height: 24.63 in (62.57 cm)Width: 28.63 in (72.73 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:good. minor wear to frame. ready to hang.
- Gallery Location:Surfside, FL
- Reference Number:1stDibs: LU38214562082
(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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