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A Belgian surrealist painter, Rene Magritte s witty and thought-provoking paintings sought to have viewers question their perceptions of reality, and become hypersensitive to the world around them.
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René Magritte (1898 - 1967) Georgette Magritte Georgette – drawing, 1924
René Magritte (1898 - 1967) L'amour de la nature (Love of Nature) Alice in Wonderland
René Magritte (1898 - 1967) Le Lieu Commun, 1964 sold for $25.5 million at Christie’s London in February 2019 An unexpected answer (La réponseimprévue), 1933 Royal Museums of Fine Arts of Belgium, Brussels
Beautiful heretic René Magritte (1898 - 1967) Beautiful realities
René Magritte (1898 - 1967) For a beautiful evening Perspective, 1949
René Magritte (1898 - 1967) Le mal du pays (1940) Homesickness Dawn in Cayenne
René Magritte (1898 - 1967) Forbidden literature Early in the morning
René Magritte (1898 - 1967) La main heureuse (The happy hand)
René Magritte (1898 - 1967) Lucky hand
René Magritte (1898 - 1967) Victory Georgette - 1935
René Magritte (1898 - 1967) The Pilgrim (Le Pélerin), 1966 High society
René Magritte (1898 - 1967) La Belle Captive, 1965 La Belle Captive, 1965
Etude pour La Géante (Study for The giant), ca. 1935 René Magritte (1898 - 1967) God is not a Saint
René Magritte (1898 - 1967) La Belle Captive René Magritte (1898 - 1967) L’univers mental (The mental universe)
René Magritte (1898 - 1967) La Belle Captive
La culture des idées René Magritte (1898 - 1967) La magie noir - 1935 Black magic
René Magritte(1898 - 1967) Portrait of Adrienne Crowet, 1940
René Magritte(1898 - 1967) Empire of Light L’empire des lumières part of a series of 17 paintings, also known as “L’empire des lumières,” which was born out of high demand for the composition
René Magritte(1898 - 1967) Empire of Light L’empire des lumières at Sotheby’s London in 2022, his 1961 canvas L’empire des lumières fetched $79.8 million
René Magritte (1898 - 1967) Memory (La Mémoire)
René Magritte (1898 - 1967) Memory (La Mémoire)
2022 Price realized GBP 2,082,000 René Magritte (1898 - 1967) Memory (La Mémoire)
René Magritte(1898 - 1967) La fée ignorante (The ignorant fairy)
René Magritte(1898 - 1967) Lachambre d'écoute (The Listening Room) Sold for £ 131,500
René Magritte(1898 - 1967) Jupiter In Virgo, 1965 Lachambre d'écoute (The Listening Room), 1952
René Magritte- La Colère des Dieux (The Anger of Gods), 1960 Lachambre d'écoute (The Listening Room)
La Reconnaissance Infinie René Magritte(1898 - 1967) Le plagiat
René Magritte(1898 - 1967) La pensée visible (Visible Thought)
René Magritte(1898 - 1967) Reflections of a Lonely Passerby L'Art de la Conversation, The Art of Conversation, 1963
René Magritte (1898 - 1967) Force of Circumstance (La force des choses), 1958
René Magritte(1898 - 1967) L'Art de la Conversation, The Art of Conversation
Renee MAGRITTE. THE TREACHERY OF IMAGES, exhibition view © SchirnKunsthalle Frankfurt, 2017
René Magritte - Pascal’s Coat (Le manteau de Pascal), 1954 René Magritte - Black Magic, 1934
René Magritte(1898 - 1967) La condition humaine
The Magritte Museum is an art museum in the Royal Quarter of Brussels, Belgium, dedicated to the work of the Belgian surrealist artist, René Magritte. It is one of the constituent museums of the Royal Museums of Fine Arts of Belgium René Magritte (1898 - 1967) Le carrousel d'Esclarmonde (Esclarmonde'sRoundabout), 1953
René Magritte (1898 - 1967) Le principe d'Archimède
René Magritte (1898 - 1967) Mélusine (Melusine), 1953
René Magritte (1898 - 1967) Les valeurs personnelles (Personal Values) Collection SFMOMA, San Fracisco Museum of Modern Art
René Magritte(1898 - 1967) Le paysage de Baucis (Baucis landscape) La Geante II, Lithograph, 1950
René Magritte (1898 - 1967) La vie heureuse, 1944
René Magritte (1898 - 1967) Bather
Self-portrait René Magritte (1898 - 1967) Royal Museums of Fine
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It’s one of Modern art’s most famous images: a pipe, above the words “Ceci n’est pas une pipe,” or “This is not a pipe,” and it’s called The Treachery of Images (1929). If you know the Belgian surrealist René Magritte for one thing, it’s probably this canvas. You probably also know his anonymous bowler-hatted men, as well as other masterpieces, like the paintings titled L’empire des lumières (which he created from the ’40s through the ’60s), which show a brightly shining sky above a dusky street, or The Lovers (1928), which shows a man and woman kissing, their heads wrapped in fabric. (That canvas made the rounds as a meme during the height of the Covid pandemic, when masks were de rigueur.) But what you may not know is that the beloved surrealist was also a master forger, not only of artworks but even of paper money. It’s not an urban legend: his close friend, artist Marcel Mariën, revealed the act in his 1983 autobiography (Magritte’s wife sued, but she lost). During the Nazi occupation, old masters like Titian as well as moderns like Pablo Picasso, Max Ernst, and Giorgio de Chirico came in for copying by Magritte; Mariën was charged with selling the fakes to collectors. It’s not entirely clear whether he did this as part of a philosophical program to challenge authority or whether he just needed to make a living. In the lean years after the war, Magritte and his brother even forged 100-franc notes. He wouldn’t have to print fake money for too long. He went on to see great success, with collectors like Nelson Rockefeller snatching up his paintings, and he had a major retrospective at New York’s Museum of Modern Art in 1965, after which his prices shot up. His fame has only grown, with his works appearing not only from museum walls to dorm-room posters, but also, recently, making a smash appearance on the auction block. The artist blew past his public sale record at Sotheby’s London in 2022, when his 1961 canvas L’empire des lumières fetched $79.8 million, far exceeding his previous high of $26.8 million. The idea of an artist committing fraudulent acts like forgery while wearing a suit, tie, and bowler hat, and living the married, suburban life, may seem incongruous. But if you ask critic George Melly, it all makes sense: “He is a secret agent,” Melly has said. “His object [is] to bring into disrepute the whole apparatus of bourgeois reality. Like all saboteurs, he avoids detection by dressing and behaving just like everybody else.” by Brian Boucher