Magritte Litho

René Magritte is celebrated today as one of Surrealism’s most talented artists, and, alongside Salvador Dalí, the cheeky, subversive Belgian painter and author is the movement’s best-known representative, having cemented his legacy with what may be the most iconic five words in all of art history: “Ceci n’est pas une pipe” (This is not a pipe).

Magritte’s success, though, hardly came overnight. Born in 1898 in Lessines to a wealthy manufacturer, he studied at the Académie Royale des Beaux-Arts in Brussels from 1916 to 1918 but quit before graduation. His early artistic work wavered between Cubism and semi-abstraction, and he found work as a graphic designer while experimenting with his own creative oeuvre. In the mid-1920s, he began to experiment with Surrealism, then a relatively nascent movement that had grown out of the absurdist Dada. Led by André Breton, Surrealism endeavored to record elements of the subconscious and present contradictory, sometimes even nonsensical, narratives that challenged the notion of an absolute reality.

Magritte’s first widely recognized work within this genre was 1927’s The Menaced Assassin, now in the collection of the Museum of Modern Art in New York. Shortly after completing this work, Magritte relocated to Paris, to be closer to Breton and the center of the Surrealist movement. This decision would prove critical in his life — and in the trajectory of Surrealist art history. The three years Magritte spent in Paris were his most prolific, and by the close of the 1920s he had completed some of his best-known work, including the seminal 1929 The Treachery of Images, a simple picture of what appears to be a pipe, with the words “Ceci n’est pas une pipe” in neat script below it.

Magritte returned to Brussels in the early 1930s but continued experimenting with work that wavered between dreamlike and nonsensical. His influences throughout this part of his career ranged from Breton to Giorgio de Chirico and Dalí. While living in German-occupied Belgium beginning in the early 1940s, Magritte entered what is often called his Renoir period or what he labeled “Sunlit Surrealism.” He worked in comparatively brighter, more vibrant colors and produced oil paintings and gouaches that were overrun with light and the type of brushstrokes that are usually associated with Impressionist art.

Like many artists during and after the war, Magritte thought deeply about art’s role in answering big existential questions and broke with Surrealism as a result. His Impressionistic The Fifth Season in 1943 resembled little of what he’d painted in years past. His so-called Vache period that followed would represent another stylistic shift that owed to German Expressionism. Not everything changed, however; Magritte would go on to revisit his earliest creative impulses, in some cases appropriating elements from fellow artists in his own depictions, as with his Perspective II: Manet’s Balcony in 1950, a playful and probing reinterpretation of Edouard Manet’s The Balcony. Later in his career, the artist dabbled in sculpture, before dying in 1967.

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In the wake of World War I’s ravaging of Europe, artists delved into the unconscious mind to confront and grapple with this reality. Poet and critic André Breton, a leader of the Surrealist movement who authored the 1924 Surrealist Manifesto, called this approach “a violent reaction against the impoverishment and sterility of thought processes that resulted from centuries of rationalism.” Surrealist art emerged in the 1920s with dreamlike and uncanny imagery guided by a variety of techniques such as automatic drawing, which can be likened to a stream of consciousness, to channel psychological experiences.

Although Surrealism was a groundbreaking approach for European art, its practitioners were inspired by Indigenous art and ancient mysticism for reenvisioning how sculptures, paintings, prints, performance art and more could respond to the unsettled world around them.

Surrealist artists were also informed by the Dada movement, which originated in 1916 Zurich and embraced absurdity over the logic that had propelled modernity into violence. Some of the Surrealists had witnessed this firsthand, such as Max Ernst, who served in the trenches during World War I, and Salvador Dalí, whose otherworldly paintings and other work responded to the dawning civil war in Spain.

Other key artists associated with the revolutionary art and literary movement included Man Ray, Joan Miró, René Magritte, Yves Tanguy, Frida Kahlo and Meret Oppenheim, all of whom had a distinct perspective on reimagining reality and freeing the unconscious mind from the conventions and restrictions of rational thought. Pablo Picasso showed some of his works in “La Peinture Surréaliste” — the first collective exhibition of Surrealist painting — which opened at Paris’s Galerie Pierre in November of 1925. (Although Magritte is best known as one of the visual Surrealist movement’s most talented practitioners, his famous 1943 painting, The Fifth Season, can be interpreted as a formal break from Surrealism.)

The outbreak of World War II led many in the movement to flee Europe for the Americas, further spreading Surrealism abroad. Generations of modern and contemporary artists were subsequently influenced by the richly symbolic and unearthly imagery of Surrealism, from Joseph Cornell to Arshile Gorky.

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Decorating with fine art prints — whether they’re figurative prints, abstract prints or another variety — has always been a practical way of bringing a space to life as well as bringing works by an artist you love into your home.

Pursued in the 1960s and ’70s, largely by Pop artists drawn to its associations with mass production, advertising, packaging and seriality, as well as those challenging the primacy of the Abstract Expressionist brushstroke, printmaking was embraced in the 1980s by painters and conceptual artists ranging from David Salle and Elizabeth Murray to Adrian Piper and Sherrie Levine.

Printmaking is the transfer of an image from one surface to another. An artist takes a material like stone, metal, wood or wax, carves, incises, draws or otherwise marks it with an image, inks or paints it and then transfers the image to a piece of paper or other material.

Fine art prints are frequently confused with their more commercial counterparts. After all, our closest connection to the printed image is through mass-produced newspapers, magazines and books, and many people don’t realize that even though prints are editions, they start with an original image created by an artist with the intent of reproducing it in a small batch. Fine art prints are created in strictly limited editions — 20 or 30 or maybe 50 — and are always based on an image created specifically to be made into an edition.

Many people think of revered Dutch artist Rembrandt as a painter but may not know that he was a printmaker as well. His prints have been preserved in time along with the work of other celebrated printmakers such as Pablo Picasso, Salvador Dalí and Andy Warhol. These fine art prints are still highly sought after by collectors.

“It’s another tool in the artist’s toolbox, just like painting or sculpture or anything else that an artist uses in the service of mark making or expressing him- or herself,” says International Fine Print Dealers Association (IFPDA) vice president Betsy Senior, of New York’s Betsy Senior Fine Art, Inc.

Because artist’s editions tend to be more affordable and available than his or her unique works, they’re more accessible and can be a great opportunity to bring a variety of colors, textures and shapes into a space.

For tight corners, select small fine art prints as opposed to the oversized bold piece you’ll hang as a focal point in the dining area. But be careful not to choose something that is too big for your space. And feel free to lean into it if need be — not every work needs picture-hanging hooks. Leaning a larger fine art print against the wall behind a bookcase can add a stylish installation-type dynamic to your living room. (Read more about how to arrange wall art here.)

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