Painting by René Magritte: Foresight. Rene Magritte

Bella Adtseeva

The Belgian artist Rene Magritte, despite his undoubted affiliation with surrealism, always stood apart in the movement. Firstly, he was skeptical about perhaps the main hobby of the entire group of Andre Breton - Freud's psychoanalysis. Secondly, Magritte’s paintings themselves are not similar to either the crazy plots of Salvador Dali or the bizarre landscapes of Max Ernst. Magritte used mostly ordinary everyday images - trees, windows, doors, fruits, human figures - but his paintings are no less absurd and mysterious than the works of his eccentric colleagues. Without creating fantastic objects and creatures from the depths of the subconscious, the Belgian artist did what Lautreamont called art - he arranged “a meeting of an umbrella and a typewriter on the operating table,” combining banal things in an unusual way. Art critics and connoisseurs still offer new interpretations of his paintings and their poetic titles, almost never related to the image, which once again confirms: Magritte’s simplicity is deceptive.

Rene Magritte himself called his art not even surrealism, but magical realism, and was very distrustful of any attempts at interpretation, and even more so the search for symbols, arguing that the only thing to do with paintings is to look at them.

From that moment on, Magritte periodically returned to the image of a mysterious stranger in a bowler hat, depicting him either on the sandy seashore, or on a city bridge, or in a green forest, or facing a mountain landscape. There could be two or three strangers, they stood with their backs to the viewer or semi-sideways, and sometimes - as, for example, in the painting High Society (1962) (can be translated as "High Society" - editor's note) - the artist indicated only an outline men in a bowler hat, filling it with clouds and leaves. The most famous paintings depicting a stranger are “Golconda” (1953) and, of course, “Son of Man” (1964) - Magritte’s most widely replicated work, parodies and allusions to which occur so often that the image already lives separately from its creator. Initially, Rene Magritte painted the picture as a self-portrait, where the figure of a man symbolized a modern man who has lost his individuality, but remains the son of Adam, who is unable to resist temptations - hence the apple covering his face.

"Lovers"

Rene Magritte quite often commented on his paintings, but left one of the most mysterious - “Lovers” (1928) without explanation, leaving room for interpretation to art critics and fans. The first ones again saw in the painting a reference to the artist’s childhood and experiences associated with her mother’s suicide (when her body was taken out of the river, the woman’s head was covered with the hem of her nightgown - editor’s note). The simplest and most obvious of the existing versions - “love is blind” - does not inspire confidence among experts, who often interpret the picture as an attempt to convey isolation between people who are unable to overcome alienation even in moments of passion. Others see here the impossibility of understanding and getting to know close people to the end, while others understand “Lovers” as a realized metaphor for “losing one’s head from love.”

In the same year, Rene Magritte painted a second painting called “Lovers” - in it the faces of the man and woman are also closed, but their poses and background have changed, and the general mood has changed from tense to peaceful.

Be that as it may, “The Lovers” remains one of Magritte’s most recognizable paintings, the mysterious atmosphere of which is borrowed by today’s artists - for example, the cover of the debut album of the British group Funeral for a Friend Casually Dressed & Deep in Conversation (2003) refers to it.

"The Treachery of Images", or This Is Not...

The names of Rene Magritte's paintings and their connection with the image are a topic for separate study. “The Glass Key”, “Achieving the Impossible”, “Human Destiny”, “The Obstacle of Emptiness”, “The Beautiful World”, “Empire of Light” - poetic and mysterious, they almost never describe what the viewer sees on the canvas, but about What meaning the artist wanted to put into the name, in each individual case one can only guess. “The titles are chosen in such a way that they do not allow my paintings to be placed in the realm of the familiar, where the automaticity of thought will certainly work to prevent anxiety,” Magritte explained.

In 1948, he created the painting “The Treachery of Images,” which became one of Magritte’s most famous works thanks to the inscription on it: from inconsistency the artist came to denial, writing “This is not a pipe” under the image of a pipe. "This famous pipe. How people reproached me with it! And yet, you can fill it with tobacco? No, it's just a picture, isn't it? So if I wrote under the picture, 'This is a pipe,' I'd be lying !" - said the artist.

Magritte's Sky

The sky with clouds floating across it is such an everyday and used image that it seems impossible to make it the “calling card” of any particular artist. However, Magritte’s sky cannot be confused with someone else’s - more often than not due to the fact that in his paintings it is reflected in fancy mirrors and huge eyes, fills the contours of birds and, together with the horizon line, imperceptibly passes from the landscape onto the easel (series “Human Destiny” "). The serene sky serves as a background for a stranger in a bowler hat (Decalcomania, 1966), replaces the gray walls of the room (Personal Values, 1952) and is refracted in three-dimensional mirrors (Elementary Cosmogony, 1949).

The famous "Empire of Light" (1954), it would seem, is not at all similar to the works of Magritte - in the evening landscape, at first glance, there was no place for unusual objects and mysterious combinations. And yet such a combination exists, and it makes the picture “Magritte” - a clear daytime sky over a lake and a house immersed in darkness.

Bella Adtseeva

"Lovers"

"The Treachery of Images", or This Is Not...

Magritte's Sky

One of the outstanding artists of the last century, Rene Magritte (1898-1967) was originally from Belgium. In 1912, his mother drowned herself in the river, which apparently had a great impression on the future artist, who was then still a teenager; however, contrary to popular belief, the influence of this event on the author’s work should not be overestimated. Magritte brought back from his childhood a number of other, not so tragic, but no less mysterious memories, which he himself said were reflected in his work.

Educated at the Academy of Fine Arts in Brussels, he was initially strongly influenced by Dada and Cubism. The year 1925 was a turning point in his work: the painting “Roses of Picardy” marked a new style and a new attitude - “poetic realism”. The artist moves to the “center of surrealism” - Paris, where he participates in all surrealist exhibitions. And in 1938, the first major exhibition of the Belgian master was organized by the London art gallery.

In the early 1950s. Magritte's art is receiving ever-increasing international recognition, as evidenced by his large exhibitions in Rome, London, New York, Paris, and Brussels. In 1956, Magritte, as an outstanding representative of Belgian culture, was awarded the prestigious Guggenheim Prize.

In the painting “False Mirror” (1929), which expressed the artist’s ideological credo, the entire space is occupied by the image of a huge eye. Only instead of the iris, the viewer sees a summer blue sky with transparent clouds floating across it. The title explains the idea of the painting: the senses only reflect the external appearance of things, without conveying the hidden depth of the world, its secrets. Only the incompatible helps, according to Magritte, to grasp the meaning of existence. An image can only be born from the convergence of two more or less distant realities.

Magritte would follow this method throughout his entire creative career, which is especially noticeable in his “philosophical” paintings. One of them is “Hegel’s Vacation” (1958).

“My last painting,” he wrote, “began with a question: how to depict a glass of water in a picture in such a way that it would not be indifferent to us? But at the same time, in such a way that it would not be particularly bizarre, arbitrary or insignificant. One. in a word so that one could say: brilliant (let’s leave unnecessary shame).
I started drawing the glasses one by one (three sketches), each time with a cross stroke (sketch). After the hundredth or hundred and fiftieth
drawing, the stroke became somewhat wider (sketch). At first the umbrella stood inside the glass (sketch), but then it ended up under it (sketch).
So I found a solution to the original question: how can a glass of water be depicted in a brilliant way. I soon realized that this subject could be of great interest to Hegel (he is also a genius), because my subject combines two opposing
aspirations: does not want water (repels it) and wants water (picks it up). I think he would have liked it or found it funny (for example, during the holidays). That's why I called the painting "Hegel's Vacation."

Magritte stands out sharply among the surrealists: unlike them, he uses not fantastic, but everyday elements, taken in bizarre relationships. This is his famous painting “Personal Property” (1952).

The “key” here also becomes the name. The “personal” is hypertrophied to monstrous proportions. The room turns into a kind of “microcosm”, closed, squeezed, despite the sky with clouds floating across it instead of walls. All the things here have strangely changed, as if they have come to life, acquired a non-utilitarian appearance, although, as always with Magritte, the objects have not changed their appearance, texture, color and are perfectly “recognizable”. The viewer, as if in passing, admires the bluish shine of the glass of the glass, the texture of the wooden furniture, and the skill of conveying mirror reflections. But precisely in passing, because the objects seem to have gained independence, as if they speak on behalf of their owner, completely usurping his “leading” role. They themselves have become “personalities” and seem to be having a conversation among themselves.

One of the features of early Magritte’s painting is its “literariness” in the good sense of the word. Magritte moves in a circle of poets, philosophers, writers, studies the theoretical works of famous romantics of the 19th century. He was greatly influenced by the works of the English romantic poet and philosopher of the early 19th century. Samuel Taylor Coleridge, who primarily revered symbolism in art - such “the complete subordination of matter to spirit that matter turns into a symbol through which the spirit reveals itself.”

This idea is illustrated, in particular, by Magritte’s famous painting “Liberation” (“Flight into the Fields”), created in 1933.

A strange landscape opens from a broken window. Greenish evening hills, spherical blue trees, transparent mother-of-pearl sky, blue distances. Brilliantly using the techniques of tonal painting, the artist creates a mood of joyful elation, expectation of something unusual and wonderful. The warm shade of the curtains in the foreground enhances the impression of the airiness of this enchanted landscape... Magritte’s paintings seem to be made with a calm, intrepid hand. Master of color, Magritte uses it sparingly and sparingly. In "Liberation" the symbolism of color is used to express complex associations. Spots of blue, pink, yellow and black give the image an amazing color fullness and liveliness.

The originality of Rene Magritte's work will be revealed more fully if we turn to the topic "Surrealism and Freudianism." The main theoretician of surrealism, Andre Breton, a psychiatrist by profession, attached decisive importance to Freud's psychoanalysis when assessing the artist's work. Freudian views were not only adopted by many surrealists - it became their way of thinking. For example, for Salvador Dali, by his own admission, the world of Freud’s ideas meant as much as the world of Scripture for medieval artists or the world of ancient mythology for the masters of the Renaissance.

The “method of free association” proposed by Sigmund Freud, his “theory of errors”, and “interpretation of dreams” were aimed primarily at identifying painful mental disorders for the purpose of healing. The interpretation of works of art proposed by Freud was also aimed at this. But with this understanding, art is reduced to a private, so to speak, “healing” factor. This was the fallacy of the approach of the theorists of surrealism to works of art. Magritte was well aware of this, noting in one of his letters in 1937: “Art, as I understand it, is not subject to psychoanalysis. It is always a mystery.” The artist treated attempts to interpret his paintings with the help of psychoanalysis ironically: “They decided that my “Red Model” is an example of a castration complex. After listening to several explanations of this kind, I made a drawing according to all the “rules” of psychoanalysis. Naturally, they analyzed it in the same way cold-blooded. It's terrible to see what kind of mockery a person can be subjected to after making one innocent drawing... Perhaps psychoanalysis itself is the best topic for a psychoanalyst."

This is why Magritte stubbornly refused to call himself a “surrealist.” He readily accepted the description of a "magical realist." This direction is characteristic of the “Belgian period” of his work - starting in 1930, when Magritte returned from Paris to Brussels for good.

The traditions of old Dutch art had a beneficial influence on Magritte's work. In the painting “Plagiarism” (1960), several symbolic details attract attention.

On the left on the table we see an image of a nest and three eggs - symbolism of the Trinity. Like a wizard, the artist seems to materialize before our eyes the images of his imagination, and they turn into a beautiful fruit-bearing garden - a symbol of a living creative imagination. Magritte creates a subtle, spiritualized poetic image. Contemplating the picture, one can only admire the most delicate pink, bluish, pearlescent shades - a truly fabulous sight.

In the 1930s Magritte, along with the art of Bosch, deeply studies the work of his compatriot, playwright and philosopher Maurice Maeterlinck, who back in 1889 in the collection “Greenhouses” wrote: “A symbol is a force of nature, but the human mind cannot resist its laws... If there is no symbol, there is no work of art."

Magritte owes Maeterlinck the ability to develop comparison into a whole network of images that the artist’s imagination transforms into the real world. In the painting “Madness of Greatness” (1948), a dying candle is depicted on a stone parapet against the backdrop of the endless azure sea - as a symbol of the frailty of human life. Nearby are several female torsos growing out of each other (a symbol of sensuality). And in the sky with beautiful frozen clouds (for Magritte - a symbol of timelessness), the viewer sees blue “incorporeal” geometric shapes, symbolizing “pure ideas”, and a hot air balloon - a symbol of abstract “pure thought”.

With the help of a finely thought-out color scheme, the artist “clarifies” the main idea. His “sensuality” is a warm flesh color. “Pure Forms” are designed in a cold bluish tonality, corresponding to the symbolism and at the same time creating a feeling of limitless space.

“We wander at random through the valley, not realizing that all our movements are reproduced and acquire their true meaning on the top of the mountain,” Maeterlinck wrote in his treatise “Treasure of the Humble,” “and it is necessary that from time to time someone comes to us and said, "Lift your eyes, look what you are, look what you do. We don't live here, our life is up there. That look we exchanged in the darkness, those words that made no sense at the foot of the mountain, look, what they have become and what they mean there, above the snowy heights."

This idea of Maeterlinck was reflected in Magritte’s painting “The Possession of Arnheim” (1962).

Only by breaking glass with a false image painted on it can one see reality in all its radiant splendor, the artist believes. It is here, on the tops of the mountains that Maeterlinck spoke about, that the Truth lurks.

The painting “An Unexpected Answer” (1933) embodies another thought of Maeterlinck: “There are no insignificant days in life. Go, come back, go out again - you will find what you need in the twilight. But never forget that you are close to the door. This ", perhaps, one of those narrow cracks in the doors of darkness, through which we are given the opportunity to see for a moment everything that is about to happen in the grotto of treasures that have not yet been discovered."

The painting looks like a kind of emblem of an exciting mystery - everything here is so integral, “natural,” if this definition can be attributed to one of Magritte’s most mysterious and mystical compositions. An open “hacked door” is a symbol of another dimension, fraught with many mysteries.

Some authors writing about Magritte declare him an “artist of the absurd,” whose paintings lack any meaning. If this were the case, if the artist's goal was to depict only "the absurdity of our daily existence", it would be creativity on the level of a puzzle, and not the serious art that it is. Magritte wrote: “We ask a picture at random, instead of listening to it. And we are surprised when the answer we receive is not frank.”

His art was often called "daydreams." The artist clarified: “My paintings are not dreams that put you to sleep, but dreams that awaken you.” It is not for nothing that the prominent surrealist Max Ernst, having seen his exhibition in New York in the early 1950s, said: “Magritte neither sleeps nor stays awake. He illuminates. He conquers the world of dreams.”

“Without mystery, neither the world nor the idea are possible,” Magritte never tired of repeating. And as an epigraph to one of his self-portraits, he took a line from a 19th century French poet. Lautreamont: “I sometimes dream, but never for a moment do I lose consciousness of my identity.”

Hence the unexpected interpretation of “internal and external” in Magritte’s works.

Here is the artist’s commentary on his painting “Frames of Life” (1934): “In front of the window, which we see from inside the room, I placed a painting depicting exactly that part of the landscape that it covers. Thus, the tree in the picture obscures the tree standing behind it is outside. For the viewer, the tree is simultaneously inside the room in the picture and outside in the real landscape. This is how we see the world. We see it outside of us and at the same time we see its representation within ourselves. In this way we sometimes place in the past that which what is happening in the present. Thus, time and space are freed from the trivial meaning with which ordinary consciousness gives them."

Herbert Read noted: “Magritte is distinguished by the severity of his forms and a distinct clarity of vision. His symbolism is pure and transparent, like the glass of windows that he so loves to depict. Rene Magritte warns about the fragility of the world. The glass is broken: significantly freezing in flight, the images fall, lining up in a row like ice floes." This is an example of one possible interpretation of Magritte's polysemous metaphors. This artist’s glass window motif can also be seen as the border between two worlds - the real and the surreal, the poetic and the everyday, between the conscious and the unconscious.

In the painting “Son of Man” (1964), modern man is depicted against the backdrop of a wall separating him from the vast expanses of the ocean and sky, symbolizing infinity. An apple hanging in front of a person’s face adds mystery to the image. This apple can be perceived both as the fruit of the tree of knowledge and as a symbol of nature, which man is trying to understand. At the same time, this detail gives harmony to the prosaic appearance of a neat bourgeois.

The painting “Golconda” (1953) can be seen as an embodied metaphor: people “with weight” have become weightless. There is irony hidden in the name: after all, Golconda is a semi-legendary city in India, famous for its gold deposits and diamonds, and these people seem to be attracted to gold. The artist hangs in a boundless space several dozen neatly dressed rentiers with bowler hats, ties and fashionable coats, while maintaining absolute equanimity.

In one of Magritte’s later paintings, “Ready Bouquet” (1956), a man in the same bowler hat and tails, standing with his back to the viewer on the terrace, contemplates the evening park. And on his back is depicted “Spring” by Botticelli, walking in flowers and the brilliance of colors. What is this? Realization of the aphorism “Man passes, art remains”? Or perhaps a person admiring the park remembered a Botticelli painting? The answer is unclear.

The artist seeks to destroy the usual idea of the well-known, unchanging, to make him see the object in a new dimension, leading the viewer to confusion. In his canvases, he created a world of fantasy and dreams from real things, immersing viewers in an atmosphere of dreams and mystery. The artist brilliantly knew how to “direct” their feelings. It would seem that the world created by the artist is static and strong, but the unreal always invades the everyday, destroying this familiar world (an ordinary apple in a room, growing, displaces people, or a steam locomotive jumps out of the fireplace at full speed - “Pierced Time”, 1939).

The most frequently copied painting is The Creation of Man (1935). The image of the sea in the painting on the easel standing in front of the open window miraculously merges with the “real” sea view from the window.

The theme of many of Magritte’s paintings was the so-called “hidden reality”. Part of the image, for example, the face of the main character, is covered with something (an apple, a bouquet of flowers, a bird). Magritte explains the meaning of these works: “The interesting thing in these paintings is the presence of the open and the hidden that suddenly burst into our consciousness, which in nature are never separated from each other.”

In the painting “The Lovers,” Rene Magritte shows that when we are truly in love, our eyes are closed.

Trying to comprehend the elusive meaning of Magritte’s paintings, to “explain” them, the viewer’s mind frantically grabs at both. The artist "throws" the title of the painting to him (it usually appeared after the work was completed). Magritte gave the title a decisive role in the perception of the painting. According to the recollections of relatives and friends, when coming up with names, he often discussed them with literary friends. Here is what the artist himself said about this: “The title is an indicator of the function of the painting,” “The title should contain a living emotion,” “The best title for a painting is poetic. It should not teach anything, but instead, surprise and fascinate.”

Many of the titles of the paintings are deliberately scientific, and irony is visible in them: “Philosophical Lamp” (1937), “Praise of Dialectics” (1937), “Natural Knowledge” (1938), “Treatise on Sensations” (1944). Other titles create an atmosphere of poetic mystery: “Dialogue Interrupted by the Wind” (1928), “The Key to Dreams” (1930), “Painful Duration” (1939), “Empire of Light” (1950), “God’s Living Room” (1958).

The painting "Empire of Light" was painted by Magritte in the last decade of his life, but immediately became perhaps his most popular work. So popular that many collectors were willing to pay any money just to have one of its replicas in their collection.

So what is this picture that has captured the minds of people around the world? At a quick glance, it seems simple and even unassuming. A house on the shore of a small lake is hidden in the shade of spreading trees. The windows on the second floor glow with a cozy light, a lonely lantern gives its friendly light to a traveler who might find himself here on a dark night. It would seem like an ordinary, completely realistic nocturne. Any “traditional” artist can paint something like this.

But is this true? Why, then, does a vague uneasiness arise, forcing the viewer to peer more and more closely into the picture? This anxiety will not leave until it suddenly becomes clear - the sky, that's what it's all about! A blue sky with white fluffy clouds running merrily across it. And this is late at night! Just don’t ask how this is possible, because in Magritte’s world nothing is impossible. Like no other, this artist loves to connect the incompatible, to introduce into his paintings details that contrast so sharply with each other that the viewer first experiences a slight shock, but then his mind begins to work doubly intensely, trying to find a solution to the proposed charade.

Magritte himself said this about it: “I combined different concepts in “Empire of Light,” namely, a night landscape and the sky in all the glory of daylight. The landscape inclines us to think about the night, the sky - about the day. In my opinion, this simultaneous phenomenon of day and night has the power to surprise and enchant. And I call this power poetry.”

Rene Magritte himself

“Self-Portrait” (“Clear Eye”)

Recalling his childhood, he wrote: “I remember my amazement when I first saw the chessboard and the pieces on it. Frightening impression! Sheets of music where mysterious signs denoted sound and were not words!” Here is one small early work of the artist - “The Lost Jockey”, which became his creative manifesto.

A rider, rushing at full speed on a lathered horse, got lost in a surreal grove of huge chess pieces painted with musical notations.

Painting “Carte Blanche” or “The Obstacle of Emptiness”.

Magritte wrote about her: “Visible things can be invisible. If, for example, some people are riding horseback through the forest, then first you see them, then you don’t see them, but you know that they are there. In the painting “Carte Blanche,” the rider obscures the trees, and they obscure her. However, our power of thinking embraces both the visible and the invisible, and with the help of painting I make thoughts visible.”

Painting “Forbidden split”

It is interesting to note that in Magritte only images of birds are free from associative complexities. Birds carry the positive energy of flight, nothing more. There are no dead birds, fallen birds, with broken wings. The birds are alive, and their wings are full of Magritte's bright blue and white cirrus clouds (Big Family, 1963).

On August 15, 1967, Rene Magritte died of cancer. One of the artist-magicians of the 20th century, who in life looked so much like a respectable pharmacist, has passed away.
He led the quiet and calm life of a Belgian man in the street, far from the bustle of bohemians - a man who is difficult to pick out from the crowd. Dreams, paradoxes, fears, mysterious dangers filled only his paintings, not his life. The artist fought boredom only through creativity. The regularity of each day suited him quite well; he even painted most of his paintings in the dining room and until the end of his life he preferred the tram to other types of transport.
Once, shortly before his death, Magritte, this sophisticated master, said: “I still do not understand the reason why we live and die.” Perhaps the artist encrypted the clues to the causes and mysteries of existence in his rebus paintings? Anything is possible. Then it’s worth taking a closer look at them!

On June 2, 2009, a new museum dedicated to the work of the famous surrealist artist Rene Magritte opened in Brussels. The Royal Museum of Fine Arts allocated a room of 2.5 thousand square meters for it. The exhibition of the Rene Magritte Museum includes more than 200 works by the author - this is the largest collection in the world.

In 1978, Adrian Maben made a film about the great Rene Magritte. Then the whole world learned about the artist, but his paintings were worthy of becoming immortal from the very beginning. Magritte painted in the style of surrealism, and he was boldly put on the same level as Salvador Dali. Magritte was very witty in his works. See for yourself: they deserve admiration.

Son of Man, 1964

Scheherazade, 1948

The funniest thing about the artist’s style was that he did not draw incomprehensible images, but used quite primitive things as components of the picture. It seems that all the objects are recognizable, but the end result is some kind of unimaginable surprise (surprise!).

Perpetual motion, 1935

Moreover, Magritte himself said that he “sews” a thought into each picture, and the images are not a stupid accumulation of elements, but an independent story.

The Pleasure Principle, 1937

Companions of Fear, 1942

Researchers say that if you evaluate all of an artist's paintings, you can create a fairly clear idea of his inner world.

This is not an apple, 1964

Big family, 1967

The Great War, 1964

Tranquil Sleeper, 1927

The artist was born on November 21, 1898 in the city of Loessin. When he turned 14, Rene's mother drowned herself in the Sambre River, which was a huge shock for the child. For some reason, it is generally accepted that this fact did not influence Magritte’s work, but there is certainly a connection.

Lovers, 1928

Lovers II, 1928

Golconda, 1953

Two Mysteries, 1966

Apparently, as compensation for his difficult childhood, at the age of 15 the boy falls in love with Georgette Berger, and she becomes his only woman for life. He dedicates all his paintings to her, she is his only model, he remains faithful to her. A respectable love story! When he turns 22, they get married; by that time, Magritte had long since graduated from the art academy.

Georgette Magritte, 1934

Magritte with Georgette

On a wave of love, the future talent admires the works of other masters (cubism was in fashion at that time), and begins to earn extra money as a painter and poster artist.

Therapist, 1937

Philosophical lamp, 1936

Magritte's first exhibition took place in 1927. Then he read a lot, moved among philosophers and respected writers, studied psychoanalysis, so all his paintings were full of deep content and meaning. But he did not like psychoanalysis and did not consider himself a surrealist, since critics of his paintings tried to “dissect” his character based on his works. We got to the Oedipus complex, remembered our dead mother, and then Magritte got angry.

“It’s terrible to see what kind of mockery a person can be subjected to after making one innocent drawing... Perhaps psychoanalysis itself is the best topic for a psychoanalyst.”

Rape, 1934

Meditation, 1936

In the 1950s he received worldwide recognition, his paintings were exhibited in Rome, London, New York, in general, in the best galleries on the planet. His art was often called “daydreams.”

Listening Room, 1952

Red model, 1935

Distorting Mirror, 1928

Collective invention, 1942

The artist specified:

“My paintings are not dreams that put you to sleep, but dreams that awaken you.”

Of course, his paintings were drawn in different styles and techniques: art deco, post-impressionism, cubism, surrealism, all kinds of materials were used in his works (from gouache to appliqué), but he gained fame precisely because of the surrealism in his works, which is atypical for anyone.

Midnight Married, 1926

In 1967, Rene died of pancreatic cancer. Almost 50 years have passed, but his work still excites and appeals to people. This means that the artist can safely be considered a classic.

Unfinished painting, 1954

17.03.2011 V 22:08

Surrealism by René Magritte

Violence(all works can be enlarged)

One of the outstanding artists of the last century, Rene Magritte(1898–1967) was originally from Belgium. Educated at the Academy of Fine Arts in Brussels, he was initially strongly influenced by Dada and Cubism. The year 1925 was a turning point in his work: the painting “Roses of Picardy” marked a new style and a new attitude - "poetic realism". The artist moves to the “center of surrealism” - Paris, where he participates in all surrealist exhibitions.

Dadaism, or Dada- a modernist movement in literature, fine arts, theater and cinema. It originated during the First World War in neutral Switzerland, in Zurich. Existed from 1916 to 1922. The main idea of Dadaism was the consistent destruction of any aesthetics. The Dadaists proclaimed: “The Dadaists are nothing, nothing, nothing, undoubtedly they will achieve nothing, nothing, nothing.”
The main principles of Dada were irrationality, denial of recognized canons and standards in art, cynicism, disappointment and lack of system. It is believed that Dadaism was the predecessor of surrealism, which largely determined its ideology and methods.

Lovers

Red model

The main feature of Magritte is the atmosphere of mystery in his works. A sense of mystery, as we know, is inherent in real art. “I have always considered Magritte an imaginary artist, a master somewhere on the level of Giorgione,” wrote Herbert Read. These words contain the key to Magritte's poetics. Magritte stands out sharply among the surrealists: unlike them, he uses not fantastic, but everyday elements, taken in bizarre relationships.

Insight("La clairvoyance(autoportait)")

Nostalgia

Return of the Flame ("Le retour de flamme")

Boudoir philosophy

Perspective II: Manet's Balcony (“Perspective II^ le balcon de Manet”)

Golconda

The Mystery of the Horizon

Magritte gave the title a decisive role in the perception of the painting. According to the recollections of relatives and friends, when coming up with names, he often discussed them with literary friends. Here is what the artist himself said about this: “The title is an indicator of the function of the painting,” “The title should contain a living emotion,” “The best title for a painting is poetic. It should not teach anything, but instead, surprise and fascinate.”

The month of the grape harvest

Big family

Carte blanche

False mirror

Son of man

Magritte painted this painting as a self-portrait. It depicts a man in a tailcoat, wearing a bowler hat, standing near a wall, behind which one can see the sea and a cloudy sky. The man's face is almost completely covered by a green apple floating in front of him. The painting is believed to owe its name to the image of a modern businessman, who remained the son of Adam, and an apple, symbolizing the temptations that continue to haunt man in the modern world.

Rene Magritte Museum in Brussels