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Elegant silk scarf from 1993 Les Oiseaux - René Magritte1993
1993
$2,156.60
£1,581.97
€1,800
CA$2,943.91
A$3,311.25
CHF 1,717.47
MX$40,167.89
NOK 21,776.55
SEK 20,492.95
DKK 13,697.08
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About the Item
This elegant silk scarf from 1993, titled Les Oiseaux, offers a refined interpretation of the surrealist vision of René Magritte. Issued as a tribute to the artist’s poetic and enigmatic universe, it brings one of his most iconic motifs—sky-filled birds—into the realm of wearable art.
Magritte’s recurring theme of birds composed of clouds or foliage, blending seamlessly with their surroundings, is a powerful symbol of his philosophical approach to image-making. On silk, this motif takes on new life, inviting the viewer to engage with the artist’s dreamlike logic and delicate humor in a tactile and intimate format.
This scarf is more than an accessory; it is a collector’s piece that bridges fine art and design, making it a rare and beautiful object for both fashion connoisseurs and admirers of 20th-century art. Produced with exceptional craftsmanship, it pays homage to the enduring resonance of Magritte’s work.
A timeless piece that captures the surrealist spirit in motion.
Tissu
Surrealism - Animals - Silk
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View AllElegant silk scarf from 1993 Les Oiseaux - René Magritte
By René Magritte
Located in PARIS, FR
This elegant silk scarf from 1993, titled Les Oiseaux, offers a refined interpretation of the surrealist vision of René Magritte. Issued as a tribute to the artist’s poetic and enigm...
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Circa 1960 Original poster of René Magritte entitled Les Fleurs du Mal
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Very nice poster of René Magritte entitled Les Fleurs du Mal published by the collection of the Jardin de l'Infante. René François Ghislain Magritte was a Belgian surrealist artist, ...
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Belle lithographie de Jean Lurçat.
Créateur infatigable, Lurçat est un artiste aux multiples facettes : peintre, poète, illustrateur, il se passionne pour les techniques de la céramique et de la tapisserie dont il est le plus illustre représentant du XXe siècle.
Engagé dans son époque, et passionnément curieux du monde, Jean Lurçat est né dans les Vosges à Bruyères, où Lucien, receveur des postes, et Charlotte engendrent une descendance de créateurs : Jean le peintre et André l’architecte.
Jean Lurçat se forme dans l’atelier de Victor Prouvé, chef de file de l’École de Nancy, puis vient s’immerger dans l’effervescence artistique et intellectuelle de Paris, il a alors vingt ans. Il complète sa formation en marge des circuits officiels, fonde avec des amis la revue Les feuilles de mai, et décide alors d’entamer une carrière de peintre fresquiste, mais le projet tourne court à cause de la guerre. Jean Lurçat, engagé volontaire, subit le sort terrible des fantassins ballottés dans la tourmente : cela le marquera à vie.
Un Lurçat, impatient et ne tenant pas en place, s’exprime durant la décennie des années vingt. Il se fait connaître par sa peinture, en France et aux Etats-Unis. Peintre de renommée internationale, il figura parmi les artistes les plus significatifs de son temps, tout en restant en marge des courants esthétiques contemporains. Il collabore avec Pierre Chareau, architecte-décorateur connu par l’intermédiaire de ses amis Jean et Annie Dalsace, les commanditaires de l’iconique maison de verre rue Saint-Guillaume. Il produit aussi de grands canevas brodés par son épouse et donne des projets de tapis.
La collectionneuse Marie Cuttoli fait tisser à Aubusson des tapisseries d’après des œuvres de Lurçat et des autres artistes de sa collection, et cette expérience ouvre la voie de la renaissance de la tapisserie par son ambition esthétique. Parallèlement, aux Manufactures nationales, un salon des Illusions d’Icare est tissé ; destiné à l’ambassade de France en URSS, il ne sera jamais mis en place à cause de la guerre.
Lurçat, à cette époque, abandonne la peinture de chevalet. L’étape décisive est franchie lorsqu’il s’approprie la technique de la tapisserie de lisse et s’implique dans la technique du langage de la laine. L’Apocalypse d’Angers qu’il découvre en 1938 confirme son intuition. Il perçoit le potentiel immense et l’originalité de cet art. Grosseur du point, gamme limitée et carton chiffré, il n’aura de cesse de prôner les avantages d’une méthode qui revient aux fondamentaux de la technique du Moyen âge, période qu’il estime celle des plus grands chefs...
Category
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