Rene Magritte - Philosopher’s lamp 1936 www.artishard.gr
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Rene Magritte biography , artworks , facts and list of Paintings

Rene Magritte was a Belgian surrealist artist. René 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. 

Rene Magritte Timeline

  • 1898- 1925 Early Years
  • 1926- 1930 Paris
  • 1931- 1942 Brussels
  • 1943- 1947 Sunlit Period
  • 1947- 1948 Vache Period
  • 1949- 1960 Mature Period
  • 1961- 1967 Later Years

Magritte Rene Early life

Rene Magritte was born in Lessines, in the province of Hainaut, Belgium, in 1898. He was the oldest son of , . Thereafter, he and his two brothers were raised by his grandmother.Little is known about Magritte‘s early life. He began lessons in drawing in 1910

Belgium in 1900s

René François Ghislain Magritte was born in Lessines, Belgium, on November 21, 1898, the oldest of three boys. His parents , Léopold Magritte a tailor and textile merchant, and Régina , who was a milliner before she got married .His father’s manufacturing business at times allowed the family to live in relative comfort, but financial difficulties were a constant threat and forced them to move about the country with some regularity. Magritte’s young world was dealt a far more destructive blow in 1912.

The tragic death of his mother – 1912

On 12 March 1912, his mother committed suicide by drowning herself in the River Sambre. This was not her first attempt at taking her own life; she had made many over a number of years, driving her husband Léopold to lock her into her bedroom. One day she escaped, and was missing for days. Her body was later discovered a mile or so down the nearby river.

According to a legend, 13-year-old Magritte was present when her body was retrieved from the water, but recent research has discredited this story, which may have originated with the family nurse. Supposedly, when his mother was found, her dress was covering her face, an image that has been suggested as the source of several of Magritte’s paintings in 1927–1928 of people with cloth obscuring their faces, including Les Amants (The lovers) and The Invention of Life (L’Invention De-La-Vie) 1928 .Magritte found solace from the tragedy in films and novels and especially through painting.Magritte disagreed with such interpretations, denying any relation between his paintings and his mother’s death. “My painting is visible images which conceal nothing,” he wrote, “they evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question, ‘What does it mean?’ It does not mean anything, because mystery means nothing either, it is unknowable.”

The beggining of Magritte’s Career

Magritte’s earliest paintings, which date from about 1915, were Impressionistic in style. During 1916–1918, he studied at the Brussels Academy of Fine Arts in Brussels,under Constant Montald, but found the instruction uninspiring. He also took classes at the Académie Royale from the painter and poster designer Gisbert Combaz.Although he was ultimately unimpressed with the institution, he was nonetheless exposed to emerging styles such as cubism and futurism, which significantly altered the direction of his work. Indeed, many of Magritte’s paintings during 1918–1924 were influenced by Futurism and by the figurative Cubism of Metzinger and Pablo Picasso.

What inspired René Magritte ? “Τhe song of love” 1922

Georgette Berger Rene Magritte The lovers

From December 1920 until September 1921, Magritte served in the Belgian infantry in the Flemish town of Beverlo near Leopoldsburg. Magritte married Georgette Berger in June 1922. Georgette was the daughter of a butcher in Charleroi, and first met Magritte when she was 13 and he was 15. They met again 7 years later in Brussels in 1920 and Georgette, who had also studied art, became Magritte’s model, muse, and wife. Also during 1922, the poet Marcel Lecomte showed Magritte a reproduction of Giorgio de Chirico’s The Song of Love 1914. 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.” The work had a great influence on Magritte’s artistic approach. For the next few years he developed a singular style that comprised carefully rendered everyday objects often placed in enigmatic juxtapositions. The paintings of the Belgian symbolist painter William Degouve de Nuncques have also been noted as an influence on Magritte, specifically the former’s painting The Blind House (1892) and Magritte’s variations or series on The Empire of Lights.

The empire of lights series

Advertisements and wallpapers

In 1922–1923, Magritte worked as a draughtsman in a wallpaper factory. In 1924 he began work as a freelance graphic designer . Over the next years he produced advertisements for many clients, including a Belgian fashion house and Alfa Romeo until 1926, when a contract with Galerie Le Centaure in Brussels made it possible for him to paint full-time. Placing familiar, mundane objects such as bowler hats, pipes and rocks in unusual contexts and juxtapositions, Magritte evoked themes of mystery and madness to challenge the assumptions of human perception.

The fisrt surreal painting The Lost Jockey 1926

In 1926, Magritte produced his first surreal painting, The Lost Jockey (Le jockey perdu) . The same year , Magritte signed a contract with a Brussels art gallery, which allowed him to become a full-time painter. With early works such as The Lost Jockey and The Menaced Assassin, Magritte quickly became one of the most important artists in Belgium and found himself at the center of its nascent surrealist movement. But when his first one-man show—in 1927 at the Galerie le Centaure was poorly received, a disheartened Magritte left his homeland.

Magritte and Paris Surrealists 1926 – 1930

Depressed by the failure, he moved to Paris.There he met and befriended several of the Paris Surrealists, including poets André Breton and Paul Éluard, and he became familiar with the collages of Max Ernst and became involved in the Surrealist group. An illusionistic, dream-like quality is characteristic of Magritte’s version of Surrealism. Magritte began to integrate text into some of his works.During this time he painted one of his most famous pieces, The Treachery of Images 1929, in which a detailed representation of a pipe is combined with the cursive statement: Ceci n’est pas une pipe (“This is not a pipe”). The painting questioned the authority of both images and words.In 1929 he exhibited at Goemans Gallery in Paris with Salvador Dalí, Jean Arp, de Chirico, Max Ernst, Joan Miró, Picabia, Picasso and Yves Tanguy.

The surrealist Group Mesens, René Magritte, Louise Scutenaier, André Souris and Paul Nougé; seated: Iréne Hamoir, Marthe Beauvoisin and Georgette Magritte –
Brussels 1934
René Magritte painting The Empty Mask
Paris 1928
Je ne vois pas la femme cachce dans la foret 1929 in La Revolution surrealiste (row 1) Maxime Alexandre, Louis Aragon, André Breton, Luis Bunuel, Jean Caupenne (row 2) Salvador Dalì and Paul Éluard (row 3) Max Ernst and Marcel Fourrier (row 4) Camille Goemans and René Magritte (row 5) Paul Nougé, Georges Sadoul, Yves Tanguy, André Thirion, and Albert Valentin

Brussels 1930 – Exhibitions : Ney York 1936 – London 1938

During the early stages of his career, the British surrealist patron Edward James allowed Magritte to stay rent-free in his London home, where Magritte studied architecture and painted. James is featured in two of Magritte’s works painted in 1937, Le Principe du Plaisir (The Pleasure Principle) and La Reproduction Interdite, a painting also known as Not to Be Reproduced. Beginning in the late 1930s Magritte received a fair amount of large commissions and international popularity.

Edward James Portrait of a man sitting with a hand on the table 1937 by Man Ray
Rene Magritte – The Pleasure Principle – Portrait of Edward James 1937

The “Renoir period” / Sunlit period

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.

Vache period

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 Picassos, Braques, and de Chiricos—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 and fellow Surrealist and “surrogate son” Marcel Mariën, to whom had fallen the task of selling the forgeries. At the end of 1948, Magritte returned to the style and themes of his pre-war surrealistic art.

Exhibitions

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.

Politically, Magritte stood to the left, and retained close ties to the Communist Party, even in the post-war years. However, he was critical of the functionalist cultural policy of the Communist left, stating that “Class consciousness is as necessary as bread; but that does not mean that workers must be condemned to bread and water and that wanting chicken and champagne would be harmful. (…) For the Communist painter, the justification of artistic activity is to create pictures that can represent mental luxury.” While remaining committed to the political left, he thus advocated a certain autonomy of art. Spiritually, Magritte was an agnostic.

Popular interest in Magritte’s work rose considerably in the 1960s, and his imagery has influenced pop, minimalist, and conceptual art. In 2005 he was 9th in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.

Two museums in Brussels celebrate Magritte: the René Magritte Museum, largely a biographical museum, is located in the house occupied by the artist and his wife between 1930 and 1954; and the Magritte Museum, featuring some 250 of the artist’s works, opened in 2009 at the Royal Museum of Fine Arts.

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.

End of life

Magritte died of pancreatic cancer on 15 August 1967, aged 68, and was interred in Schaerbeek Cemetery, Evere, Brussels.

Rene Margitte in front of Le sens de realite 1960
Rene Magritte painting Youth Illustrated (La jeunesse illustree) 1937

21 Facts About René Magritte

  1. René Magritte’s Surrealist oeuvre was satirical, contradictory and aesthetically playful. His characteristically clean style arranged recognizable forms in witty compositions or contexts that are physically and logically impossibly. Magritte returned to certain subjects throughout his oeuvre, including mirrors, ambiguously open or closed windows, the open sky and wallpaper patterns, which played with tensions between depiction and reality. Such works often illustrated scenes that undermined the natural laws of optics and perception. Over time, these images became iconic, and contributed to a broader world of Magritte’s creation.
  2. Many songs have been written in reference to Magritte and his work, including John Cale’s 2003 song “Magritte” and Paul Simon’s 1983 “René and Georgette Magritte with Their Dog after the War.” In this vein, since the 1960s, many of Magritte’s works have appeared as album covers for bands and recording artists, including his 1952 The Listening Room, which appears on The Jeff Beck Group’s band Beck-Ola, The Philosopher’s Lamp 1936, which appears on Alan Hull’s album Pipedream, The Lovers 1928 as the Punch Brothers’ album cover for The Phosphorescent Blues, and many others.
    “Art, as I understand it defies psychoanalysis…I take care to only paint pictures that evoke the mystery of the world…No sensible man believes that psychoanalysis could explain the mystery of the world.”
  3. Magritte’s intense and long marriage to Georgette Berger informed his entire life, and her tenacity contributed to the development of his career. They never divorced, though both sustained affairs. When Magritte began a relationship with performance artist Sheila Legge, he enlisted his friend Paul Colinet to distract Georgette, which led to their own affair. The couple became temporarily estranged for nearly four years until they eventually reconciled and remained together until his death.
  4. Brussels, where Magritte spent much of his life, named a street Ceci n’est pas une rue meaning “This is not a street” after his most famous work, The Treachery of Images.
  5. In 2009, two armed men stole Magritte’s painting Olympia, a nude portrait of the artist’s wife, from the museum in Magritte’s former home. It was returned in perfect condition in 2012 because the painting’s fame and recognizability made it impossible to sell on the black market. It is appraised at $1.1 million.
  6. In 1970, Tom Stoppard wrote a After Magritte, a surreal comedy play which brings many of Magritte’s paintings to life in tableaus, and explores the nature of surrealism as it appears in different art forms.
  7. He worked as a draughtsman in a wallpaper factory in the early 1920s, the traces of which can be found in many of his best-known paintings. He also infamously created forgeries of the works of other masters including Picasso, Titian and Max Ernst. He would use the skill decades later, when during the German occupation of Belgium, he forged banknotes for survival.
  8. Magritte implemented text in many of his paintings to explore the structures of visual signs and the role of perception in art and language. His most famous work, The Treachery of Images, exemplifies this examination, as it presents a pipe above the phrase, ‘Ceci n’est pas une pipe,’ meaning “This is not a pipe”, confronting the viewer with the means of representation, and the fact of the image and word in contradiction with real objecthood.
  1. Magritte’s 1964 painting Son of Man played a prominent part in the plot of The Thomas Crown Affair, a 1999 heist film starring Pierce Brosnan and Rene Russo. A reproduction of the painting was supplied for the film by Troubetzkoy Paintings, a company which reproduces well-known artworks.
  2. Critics, scholars and theorists have turned to Magritte’s paintings to explore a variety of intellectual notions including semiotics, power structures, and how ideology appears in imagery. Critic John Berger used Magritte’s work throughout his seminal work Ways of Seeing, while philosopher Michel Foucault used The Treachery of Images as the basis for This is Not a Pipe, his short book which analyzes and criticizes the structures of language.
  3. Although Magritte was a leading member of the Surrealist movement, his work has influenced artists of a variety of styles and approaches, particularly Pop Art. His clean aesthetic and treatment of everyday objects informed the work of Ed Ruscha, Andy Warhol, Jasper Johns and others; however, Magritte refuted the association and criticized Pop Art’s representation of “the world as it is.” LACMA’s 2006 exhibition René Magritte and Contemporary Art: The Treachery of Images explored the impact of Magritte’s work on postwar American and European artists.
  1. In 2018 Magritte’s 1937 painting Le Principe du plaisir (The Pleasure Principle) sold at Sotheby’s New York for $26.8 million, setting a new record for the artist. An entrancing portrait it depicts Edward James, one of the most influential patrons of Surrealist art, who was introduced to Magritte by Salvador Dalí in 1937. Commissioned directly by James, the portrait was rendered from a photograph of the patron that was taken according to the artist’s specifications by fellow Surrealist, Man Ray.
  2. Magritte’s letters, stories and various pieces of writing reveal his inner self and hidden thoughts. One such note revealed his skepticism of psychoanalysis and the Surrealist’s obsession with Freudian psychology, “Art, as I understand it defies psychoanalysis…I take care to only paint pictures that evoke the mystery of the world…No sensible man believes that psychoanalysis could explain the mystery of the world.”
  3. Many of Magritte’s images have permeated to other mediums and modes of visual production; for example, a scene in Louis Malle’s 1958 Les Amants depicts two lovers kissing through cloths which cover their heads, a clear reference to Magritte’s 1928 painting of the same name and subject matter.
  4. Magritte’s mother struggled with mental health issues. After multiple attempts, she committed suicide by drowning herself in a river near the family home when René was fourteen years old. It was once believed that Magritte was present when her body was pulled out of the water, with her face obscured by her dress, an image with which the artist contended in many of his works. Most historians have discredited the myth of his presence at the river, though her suicide undoubtedly affected his life and work, and even his fixation with hats could be traced to her occupation as a milliner before marriage.
  1. The famous poster for The Exorcist was inspired by Magritte’s L’Empire des Lumières Although the poster is in black and white while Magritte’s painting features relatively bright color, both works feature a confusing, threatening combination of interior and exterior light, and the male figure in the poster dons a bowler hat, likely a reference to Magritte’s characteristic image.
  2. Magritte deviated from his naturalistic surrealist aesthetic in the 1940s. During the German occupation of Belgium, he briefly painted in an impressionist style of loose brushstrokes and playful color, known as his “Renoir period.” From 1947 to 1948, referred to as his “vache period”, he produced works of Fauvist nature, using acidic color contrasts and shocking juxtapositions. He returned to his pre-war Surrealist style at the end of 1948.
  3. In addition to his paintings and sculptures, Magritte also produced drawings to accompany the work of his author friends including Paul Éluard, Georges Bataille and the Marquis de Sade.
  4. Giorgio de Chirico’s metaphysical works from the years leading to World War I, of frighteningly empty cityscapes, physically impossible scale, and recognizable objects in mysterious juxtapositions, hugely influenced Magritte’s Surrealist approach. When Magritte first saw a reproduction of de Chirico’s 1914 painting The Song of Love in 1921, he was brought to tears, and described the event as “one of the most moving moments of my life: my eyes saw thought for the first time.”
  5. Magritte often discussed his life and work with a distinct sense of irony, “I can imagine a sunny landscape under a night sky; only a god is capable of visualizing it and conveying it through the medium of paint, however. In the expectation that I will become one, I am dropping the project.”
  6. Magritte died of pancreatic cancer in 1967 at the age of 68, and was buried in Schaerbeek Cemetery, Brussels. He had worked up until his death, and left an unfinished painting that was likely commissioned by a young German collector. The incomplete work remained on its easel in the Magritte home until Georgette Magritte died in 1986.
René Magritte
Sheila Legge
René Magritte

List of Paintings by Rene Magritte

  • 1920 Landscape
  • 1921 The bathers
  • 1922 The Station and L’Écuyère
  • 1923 Self-portraitSixth NocturneGeorgette at the Piano and Donna
  • 1925 The Bather and The Window
  • 1926 The Lost JockeyThe Mind of the TravelerSensational NewsThe Difficult CrossingThe Vestal’s AgonyThe Midnight MarriageThe Musings of a Solitary WalkerAfter the Water my ButtsPopular PanoramaLandscape and The Encounter ,The face of genius
  • 1927 The Enchanted Pose
  • 1927 Young Girl Eating a BirdThe Oasis (started in 1925), Le Double SecretThe Meaning of NightLet Out of SchoolThe Man from the SeaThe Tiredness of LifeThe Light-breakerA Passion for LightThe Menaced AssassinReckless SleeperLa VoleuseThe Fast HopeL’Atlantide and The Muscles of the Sky
  • 1928 The Lining of Sleep (started in 1927), Intermission (started in 1927), The Adulation of Space (started in 1927), The Flowers of the AbyssDiscoveryThe Lovers I & II The Voice of Space The False MirrorThe Daring SleeperThe Acrobat’s IdeasThe AutomatonThe Empty MaskReckless SleeperThe Secret Life and Attempting the Impossible
  • 1929 The Treachery of Images (started in 1928), Threatening Weather and On the Threshold of Liberty
  • 1930 Pink Belles, Tattered SkiesThe Eternally ObviousThe LifelineThe Annunciation and Celestial Perfections
  • 1931 The Voice of the AirSummer and The Giantess
  • 1932 The Universe Unmasked
  • 1933 Elective AffinitiesThe Human Condition and The Unexpected Answer
  • 1934 The Rape
  • 1935 The Discovery of FireThe Human ConditionRevolutionPerpetual MotionCollective Invention and The Portrait
  • 1936 Surprise AnswerClairvoyanceThe HealerThe Philosopher’s LampThe Heart Revealed a portrait of Tita ThirifaysSpiritual ExercisesPortrait of Irène HamoirLa Méditation and Forbidden Literature
  • 1937 The Future of StatuesThe Black FlagNot to be ReproducedPortrait of Edward James and Portrait of Rena SchitzOn the Threshold of Liberty
  • 1938 Time TransfixedThe Domain of ArnheimSteps of Summer and Stimulation Objective
  • 1939 VictoryThe Palace of Memories
  • 1940 The ReturnThe Wedding Breakfast and Les Grandes Espérances
  • 1941 The Break in the Clouds
  • 1942 Misses de L’Isle AdamL’Ile au TrésonMemoryBlack MagicLes compagnons de la peur and The Misanthropes
  • 1943 The Return of the FlameUniversal Gravitation and Monsieur Ingres’s Good Days
  • 1944 The Good Omens
  • 1945 Treasure IslandLes Rencontres Naturelles and Black Magic
  • 1946 L’Intelligence and Les Mille et une Nuits
  • 1947 La Philosophie dans le boudoirThe CiceroneThe LiberatorThe Fair CaptiveLa Part du Feu and The Red Model
  • 1948 Blood Will TellMemoryThe Mountain DwellerThe Art of LifeThe PebbleThe Lost JockeyGod’s SolonShéhérazadeL’Ellipse and Famine and The Taste of Sorrow
  • 1949 MegalomaniaElementary Cosmogony, and Perspective, the Balcony
  • 1950 Making an EntranceThe Legend of the CenturiesTowards PleasureThe Labors of AlexanderThe Empire of Light II, The Fair Captive and The Art of ConversationThe Survivor
  • 1951 David’s Madame Récamier (parodying the Portrait of Madame Récamier), Pandora’s BoxThe Song of the VioletThe Spring Tide and The Smile
  • 1952 Personal Values and Le Sens de la Pudeur and The Explanation
  • 1953 GolcondaThe Listening Room and a fresco, The Enchanted Domain, for the Knokke CasinoLe chant des sirènes
  • 1954 The Invisible World and The EmpiRene Magritte – The Definition of light 1954 – the empire of light series analysis
  • 1955 Memory of a Journey and The Mysteries of the Horizon
  • 1956 The Sixteenth of SeptemberThe Ready-made Bouquet
  • 1957 The Fountain of YouthThe Enchanted Domain
  • 1958 The Golden LegendHegel’s HolidayThe Banquet and The Familiar World
  • 1959 The Castle in the PyreneesThe Battle of the ArgonneThe AnniversaryThe Month of the Grape Harvest and La clef de verre (The Glass Key)
  • 1960 The Memoirs of a Saint
  • 1962 The Great TableThe HealerWaste of EffortMona Lisa(circa 1962) and L’embeillie (circa 1962)
  • 1963 The Great FamilyThe Open AirThe Beautiful SeasonPrinces of the AutumnYoung LoveLa Recherche de la Véritéand The Telescope and ” The Art of Conversation”
  • 1964 Le soir qui tombe (Evening Falls), The Great WarThe Great War on FacadesThe Son of Man and Song of Love
  • 1965 Le Blanc-Seing,Carte BlancheThe Thought Which SeesAges Ago and The Beautiful Walk (circa 1965), Good Faith
  • 1966 The ShadesThe Happy DonorThe Gold RingThe Pleasant TruthThe Two MysteriesThe Pilgrim and The Mysteries of the Horizon
  • 1967 Les Grâces NaturellesLa GéanteThe Blank PageGood ConnectionsThe Art of LivingL’Art de Vivre and several bronze sculptures based on Magritte’s previous works

What matterials did René Magritte use

Rene Magritte used canvas, oil paints, pastels, and he used media

The findings of MOMA research about matterials colors and Technique

Some of our findings revised and augmented the catalogue raisonné, including the discovery of a major lost composition to be discussed in a later post. Additional information was incorporated into the exhibition catalogue, adding a new dimension to the Magritte literature. Other findings were included on the exhibition website.
At the end of August and beginning of September, the works on loan to the exhibition began to arrive at MoMA. As they were uncrated and installed we were struck by noticeable shifts in the artist’s palette over the 13-year span of the exhibition. We think that many viewers will be surprised by the smoky grays and blues and the somber earth tones of his work from 1926 to 1928. Then in 1929 there is a notable shift towards a lighter, clearer palette; visitors will likely be more familiar with the bright blue skies and white clouds of paintings like The False Mirror. After seeing the paintings together at MoMA, it also became more apparent that Magritte’s technique varies throughout the show. Two versions of The Red Model, one made in 1935 and the other in 1937, provide an excellent case study. Although painted only two years apart, the later and larger version shows Magritte’s desire at this time to achieve a notable trompe l’oeil effect. Shortly after, he proclaimed his desire to show objects with “all the details they show us in reality” so that they “challenge the real world. ( source MOMA )

René Magritte pronunciation

How to say Rene Magritte ? Pronunciation of rene magritte:

René Magritte pronunciation / How to Pronounce

FAQ

What art movement was Rene Magritte part of?

Surrealism , Modern art and Dada
René Magritte Periods

Why is Rene Magritte important?

René Magritte was a Belgian-born artist who was known for his work with surrealism as well as his thought-provoking images. … In the 1920s, he began to paint in the surrealist style and became known for his witty images and his use of simple graphics and everyday objects, giving new meanings to familiar things

René Magritte – Paintings, Art & Surrealism – Biography

Why does Rene Magritte use apples?

Magritte used the apple to hide his real face and in his own comments about the painting, Magritte discussed the human desire to see what’s hidden behind the visible. He spoke of the conflict that can arise between “the visible that is hidden and the visible that is present”.

http://www.rene-magritte.com 

All Rene Magritte Paintings

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