René Magritte (1898-1967), after

objekte/rene magritte 1898 1967 after the happy donor PKKwPJu 633311308 / Preishistorie

objekte/rene magritte 1898 1967 after the happy donor PKKwPJu 633311308

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objekte/rene magritte 1898 1967 after the happy donor PKKwPJu 633311308

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René Magritte (1898-1967), after - The Happy Donor

René Magritte - The Happy Donor - Offset print/poster print - 70 x 50 cm Name: René Magritte Title: The Happy Donor Type: Original art poster - High-quality offset print/poster print of the original work from 1966 Publisher: KMSKB - Magritte Foundation - Standaard Uitgeverij Style: Modern - Surrealism Characteristics: - Perfect condition: A+ - 70 x 50 cm - Signed in print - Based on the original work by Magritte from 1966 EXTRA ARTIST INFO: René François Ghislain Magritte (Lessines, November 21, 1898 – Schaerbeek, August 15, 1967) was a Belgian surrealist painter. Magritte initially worked as a designer at a wallpaper factory and later also produced many posters. Magritte’s debut in painting was in a cubist, futurist, and abstract style, influenced by his boss Victor Servranckx at the wallpaper factory UPL (Les Usines Peters-Lacroix, in Machelen). After an encounter with Giorgio de Chirico’s work in 1925, Magritte began to assimilate surrealist elements into his work. De Chirico depicts objects very realistically but in entirely different causal and temporal contexts. Thus De Chirico emphasizes the mystery of the object world. The conventional order and placement of things are thereby ironized. Magritte produced mainly paintings (oil on canvas), but also gouaches, objects, and collages. Under the leadership of E.L.T. Mesens he contributed to the magazine Oesophage and in 1927 had his first solo exhibition at the gallery "Le Centaure" in Brussels. Between 1927 and 1930 Magritte stayed in a suburb of Paris, where his surrealist vision was crowned by the friendship of Paul Éluard and André Breton, who had written The Surrealist Manifesto in 1924. When Breton once demanded that Magritte’s wife remove a necklace with a cross, he decided to return to Brussels.[1] When in 1930 the "Galerie Le Centaure", where Magritte was under contract, went bankrupt, E.L.T. Mesens could buy all his works, at that time about 200. In 1934 Magritte and his circle also applied the technique of the cadaverous exquisite with images following the language experiments in which a poem is written by several poets. Between 1934 and 1937 Magritte drew film posters for the German sound film distributor Tobis Klangfilm under the pseudonym 'Emair'. The City Archives of Leuven hold seven posters designed by Magritte. During World War II Magritte worked and lived in the French town of Carcassonne. He forged art to support himself, mainly works by De Chirico, Picasso and Braque.[1] For a short period, between 1940 and 1946, Magritte slightly enriched his palette with an impressionistic emphasis (the so-called 'Renoir period') on the advice of his agent. This style would sell better. In 1945, after returning to Belgium, he joined the Communist Party of Belgium. In 1948 he briefly began painting in a cartoonish style, but also without success.[1] But soon Magritte returned to his earlier, almost photorealistic style, somewhat more aggressive, due to the turbulent relationship with his former surrealist circle (Goemans, Scutenaire, Nougé, Lecomte, Souris, E.L.T. Mesens). Magritte’s black humor often led him to morbid figuration, further surrealized by the sometimes impossibly unlikely titles he assigned to his works. In 1953 Magritte created the wall paintings in the Casino at Knokke on the Belgian coast, commissioned by the Nellens family. These are now protected by the Royal Commission for Monuments and Landscapes. In 1960 he was awarded the Belgian State Prize for all his work. It was the first time the State Prize was awarded to a painter. In the 1950s Magritte’s work was very popular with New York collectors. This explains the large presence of Magritte’s work in American collections today. His best-known icon La Trahison des Images is also there. Magritte died in 1967 in Schaerbeek from pancreatic cancer, where he is also buried in the municipal cemetery. Most of Magritte’s oeuvre, in terms of style, belongs to surrealism, one of the major art movements of the 20th century. In many of his works, nude women and accurately painted fish appear. This is likely a reference to the fact that Magritte found his mother naked in the Meuse after she had committed suicide. Magritte’s work, like that of Salvador Dalí and Carel Willink, is painted with exquisite technique, which emphasizes the realistic effect of otherwise non-existent representations. The best-known work by Magritte is without a doubt La Trahison des Images (1928-29) or "The Treachery of Images" with the painted text: Ceci n'est pas une pipe under the very realistic image of a pipe. In this work, René Magritte paints a pipe with the message below: "This is not a pipe" (Ceci n'est pas une pipe). He wants to remind himself and the viewer that this is a canvas painted with oil, i.e., a painting, and not a real pipe. Any reference to a real pipe betrays the fact that a pipe is essentially an idea and thus has its origin in the mind. By continually questioning ourselves and, as it were, misleading ourselves, Magritte forces us to think about art. In that light, Magritte’s titles can be seen. These titles usually have nothing to do with the subject of the painting. Later conceptual artists took this line to the extreme with an installation, a performance, or a happening and reduced the artwork to an idea. This is also a critique of artists who believe they must represent reality so faithfully, like the later hyperrealists. René Magritte thought it was the painter’s task to place reality in another framework. His art always raises more questions than it can answer. An example is the painting of a mermaid, depicted with a fish head and human legs. Also representative is the painting of a very realistically depicted fish that on the tail side transforms into a burning cigar with curling smoke (painting "l'Exception" 1963). Magritte’s work also shows an extraordinary mastery of the technique of oil painting on canvas. Much of Magritte’s work shows metamorphosis, a transformation of one object into another. Or the work is in other respects impossible, for example the series of houses at night, with a clear sky above in daylight. Or a moon hanging in front of the leaves of a tree. Owls or other birds emerging from the ground like plants. He is related to the following artists: Morris Louis Yves Klein Lucio Fontana Piet Mondrian Niki de Saint Phalle Otto Piene Heinz Mack Kazimir Malevich Jean Tinguely Rainer Maria Latzke Jef Verheyen Pol Bury Walter Leblanc Rene Magritte André Racz Pierre Alechinsky Victor Vasarely Georges Vantongerloo Yves Klein Otto Piene Heinz Mack Lucio Fontana Piero Manzoni Jesús Rafael Soto Victor Vasarely Karl Otto Götz Gerhard Richter Anselm Kiefer Georg Baselitz Jannis Kounellis Cy Twombly Antoni Tàpies Hans Hartung Pierre Soulages Mark Rothko Kazuo Shiraga Bridget Riley Agostino Bonalumi Jean Tinguely Niki de Saint Phalle Guy Vandenbranden Marcel Duchamp Joseph Beuys Jean Tinguely Alexander Calder Nam June Paik Claes Oldenburg Chris Burden Richard Buckminster Fuller Karel Appel Asger Jorn Constant Nieuwenhuys Corneille Jean Dubuffet Jackson Pollock Willem de Kooning Hans Hartung Joan Miró Antoni Tàpies Sam Francis Franz Kline Mark Tobey André Masson Lucio Fontana Eduardo Chillida Kazuo Shiraga Zao Wou-Ki

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