10 works to understand René Magritte
Um dos maiores nomes do Surrealismo, René Magritte (1898-1969) was the creator of fabrics you remember that intrigued observers at all days of browsing.
Despite being more conhecido pela his work-prima A Traição das Imagens (1929), Magritte was a brilliant mind after a series of brilliant works.
Conheça now you do more work of the painter.
1. A Traição das Imagens (1929)
Painted in 1929, on canvas A Traição das Imagens is a work that places or spectator to reflect on the limits of representation the object itself.
An explanatory legend written as a school letter face or observer questioning the border of the art and the real. A word for hookah does not designate a real hookah, that is a finding that seems obvious, rather than it was built as a very property by the Belgian painter.
It is about a revolutionary image in the world of arts, not by chance the work was surrounded by a lot of controversy when it was disclosed. Second or own painter:
Or famous hookah. As people they will censor me for it. Contudo, tell me, can you preenchê-lo? Of course not, it is a mere representation. Case tivesse written no quadro: Isto é um cachimbo, teria lied.
Conheça also: Instinctive works of surrealism.
2. O Filho do Homem (1964)
A painting of a common home, gravata vermelha and a chapéu-coco - totally out of the context of the landscape - with a maçã verde in front of the face and one of the most celebrated works of René Magritte.
A figure, in a static position, is found as a horizon to the bottom (and from the coasts to it), having a cloudy sky or crowding a small wall along its coasts. An iconic image that was absorbed by pop culture and published today is massively reproduced.
Initially the painting would be a self-portrait of Magritte (entrusted by his own patron), but logo or painter would like to transform or work in another coisa, possibly even more discussion or conceitual Come in or visible, or hidden from human curiosity.
3. Golconda (1953)
Os homens represented as drops of chuva intrigam or observer. Practically identical, it is not possible to perceive whether they are flamed from chão or from céu. In spite of terem feições semelhantes, from now on we see how the homens are different from each other, inducing or spectating to participate in a game of observation of semelhanças and differences.
All of us wear black overcoats and chapéus-coco, or fundo cloth and a vulgar, suburban fabric, also with janelas iguais, and a blue ceu on the upper part of the cloth. A fabric raises questions about individuality and group identity: Até what point do you guys are autonomous or do you behave according to the accord with massa?
A curiosity about or nome do quadro: Golconda is a city in ruins (more precisely a fortress near Hyderabad) located in India, famous for trade in diamonds. Many people wonder why Magritte deu or did not lose the city of his cloth. Some theorists of art suggest that at the position of two pieces of chapéus-coco be assembled in a diamond structure.
4. Lovers (1928)
It can be said that fabric Lovers é, not minimal, disturbing and intriguing. No centro do quadro is a seemingly huddled house with a covered face.
Quite close, they beijam, embora estejam with a covered mouth. We can not see the identity of two lovers and we can only distinguish the sex of two people pela roupa that carregam.
Uma dúvida paira no ar: de quem eles hidedem o rosto? Um do outro? Do viewer? Do you have two official partners? Do you see this being a metaphorical way of affirming that love is blind?
Assim like many surreal works, Lovers encloses more questions do you answer and for that same reason, cative or observer.
5. Decalcomania (1966)
O nome do quadro face reference to a painting strategy. A decalcomania is the technique of pressing a sheet of paper on a painted surface and removes it.
Magritte faces a fabric that just uses the technique to encourage a game with an illustration of the home of coasts turned to the public.
It seems that the anonymous protagonist was withdrawn from the plane of the day, having been dislocated for the plane of the day, leaving a memory of your body, or your contour, registered as a species of Janela from where you can see or horizon.
6. Pessoais Values (1952)
Magritte's oil on canvas shows hypertrophied objects, in completely non-customary proportions, causing immediate strangeness and non-spectator discomfort.
Na cloth Pessoais ValuesEveryday objects such as a pente and a beard brush appear huge on the bed and the rugs are tiny, not comfortable that they have painted walls like or céu.
In short, not only objects are certain non-public disorientation as well as the very idea of inside and outside it appears problematized in painting.
7. O False Espelho (1928)
A canvas in oil painted by Magritte seals just not an oversized skeleton human, with a very close zoom showing each element of the ocular structure.
In Magritte's image, however, I was afraid of showing the contours of where we would usually be used to seeing iris.
The main question here can be translated as follows: would we be selling or reflecting human olho or ceu ou or ceu that ends up being molded by a human olho?
8. Insight (1936)
Na cloth Insight The protagonist, a painter, is flagrant unraveling a pasture of a cloth poused in a cavalete when he observes an ovo arrangement on the table to or from the side.
An intriguing image is how you or an artist can be, starting from the ovo, adiantar or what a future (or pass).
Either a painter, seated, as a brush in the hand and a palette on the sketched, fita blended or facing-o as a possibility for the future. Either an artist is the only one who sees here that no one else has seen: when all of them climb up, or an artist foresees what will be given to him by amanhã.
9. Tempo Trespass (1938)
Uma sala, uma lareira with a spell over the top. We barely see a stretch of the room, which does not look normal. Or that chama to attention here or trem breaking or limit gives wall to part of inside da lareira.
Either I smoke that should be produced with hair that is, na verdade, or I smoke that is thrown pela chaminé do trem flutuante.
It is curious that despite the image, it does not make any sense (a trem crossing a wall, flanando sem nenhum ponto de apoio no chão) she respects some people who read the real world such as projeção da shadow.
10. A Reprodução Interdita (1937)
Um homem during the spell, with a light at the top of the table from its direct side, by daylight entering peeled janela from the skeleton side. Até então pela descrição we could say that it is a conventional painting and not a surrealist work.
Or that picture do normal in painting A Reprodução Interdita The image of the protagonist does not reproduce the image of the protagonist and simulates it duplicates it: a or inverse of seeing us or homem from the front, we again attend his silhouette of coasts.
It is curious that the face or that was supposed in relation to all or rest of the landscape: it reflects with perfection to the bench and or light that is positioned above it. Or hey, no meanwhile, it doesn't obey the logic and remains anonymous, confused or a spectator.
Quem foi René Magritte
The Belgian painter René François Ghislain Magritte (1898-1969) came to know not a world of arts just hair first and last.
Filho de um tecelão com uma chapeleira (or that explains a lot of his obsessão chapéu-coco hair), when he completed a majority of the entry into the Académie Royale des Beux-Arts de Bruxelas.
At the age of 22, he held his first professional exhibition and, six years later, he managed to dedicate himself exclusively to painting. Before disso, René needed to work creating advertisements and posters.
It is known that his first surrealist work, painted in 1926, was Le Jockey Perdu, but a little bit too big a success.
Not to follow Magritte moved to Paris where he began to contact more closely with the members of the Surrealist movement, among them or writer André Breton, leader of the group.
In Paris, Magritte assinou a contract with a gallery, or that or allows him to produce a series of works that would be consecrated as Lovers and O False Espelho.
A main work of the Belgian painter, A Traição das Imagens, was conceived in 1929. All his work of him tries to multiply questions and questions especially or limit of representation, to frontier between art and real, a relationship between or visible and or hidden and a tênue border between or individual and or collective.
On his way to Brussels, René continued to paint até a morte, which happened on August 15, 1967.
Conheça also
- The most famous paintings in the world
- Surrealism: characteristics and main artists
- The most memorable fabrics of Salvador Dalí
- As more dazzling works by Frida Kahlo
- Quadro Moça com brinco de pérola, by Johannes Vermeer
