Painting of a large family by René Magritte description. Rene Magritte, paintings, philosophical mysteries and surrealism

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 large exhibition Belgian master organized by the London Art Gallery.

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

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.

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 appearance 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 creative path, 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. That's 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, the skill of rendering 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 in a good way words. Magritte moves in a circle of poets, philosophers, writers, studies theoretical works famous romantics of the 19th century. Big influence he was influenced by the works of the English romantic poet and philosopher early XIX V. 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. Using techniques brilliantly tonal painting, the artist creates a mood of joyful elation, expectation of something unusual and wonderful. Warm shade curtains on foreground enhance 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 peace 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 this kind, I made a drawing according to all the “rules” of psychoanalysis. Naturally, they analyzed it just as calmly. It’s terrible to see what kind of mockery a person who has made one innocent drawing can be subjected to... Perhaps psychoanalysis itself is best theme 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 fantasy, and they turn into a beautiful fruit-bearing garden - a symbol of living things. creative imagination. Magritte creates a subtle, spiritual 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, which the artist’s imagination turns into real world. In the painting “Madness of Greatness” (1948), a burning candle is depicted on a stone parapet against the backdrop of the endless azure sea - as a symbol of frailty human life. Nearby are several female torsos growing out of each other (a symbol of sensuality). And in the sky with beautiful frozen clouds (in Magritte - a symbol of timelessness), the viewer sees blue “incorporeal” geometric shapes, symbolizing "pure ideas", and balloon- a symbol of abstract “pure thought”.

With the help of a finely thought out color range 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 own 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 says: raise your eyes, look what you are, look what you are doing.” We don't live here, our life is up there. This glance that we exchanged in the darkness, these words that had no meaning 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 the self-portraits, he took the line French poet XIX century 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 depicted against the background of a wall separating it from the endless 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 people - with bowler hats, ties and fashionable coats- rentiers who maintain absolute equanimity.

On one of late paintings Magritte, “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). Image of the sea in a painting on an easel standing in front of 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 name decisive role in the perception of the picture. 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 last decade 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. House on the shore small lake hiding 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 end up here 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! Blue sky, along which white fluffy clouds are running merrily. And this 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 in the “Empire of Light” different concepts, namely - 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 chessboard, the figures on it. Frightening impression! Sheets of music where mysterious signs denoted sound and were not words!” Here's one small one early work 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 may 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!

Opened in Brussels on June 2, 2009 new museum, dedicated to creativity famous surrealist artist Rene Magritte. Royal Museum fine arts allocated a room with an area of ​​2.5 thousand for it square meters. The exhibition of the Rene Magritte Museum includes more than 200 works by the author - this is the most large collection in the world.

During his life, Magritte painted about 2,000 paintings, in 50 of which the hat appears. The artist painted her between 1926 and 1966, and she became distinctive feature creativity of Rene.

Previously, bowler hats were worn by ordinary representatives of the bourgeoisie, who did not particularly want to stand out from the crowd. “The bowler hat... is not surprising,” Magritte said in 1966. “This is a headdress that is not original. The man with the bowler hat is simply a middle-class man [hidden] in his anonymity. I wear it too. I don't try to stand out."

Rene Magritte. 1938

Bowler hats were introduced into fashion specifically for the British middle class in the second half of the 19th century. At the beginning of the 20th century, the bowler hat became one of the most popular hats. The headdress was considered informal and practical at the same time, making it a mandatory part of a man's wardrobe.

True, in the 1920s there were also episodes when the accessory featured in Magritte’s career. At that time, the artist left his work as an illustrator for a fashion catalogue. Early paintings contain references to pop culture, which was then associated with the bowler hat. Magritte, who was an avid reader of crime fiction, worked on Murderer in Danger, in which two detectives in bowler hats prepare to enter the room where a murder has been committed.

The killer is in danger. 1927

Then the artist abandoned the “hat” motif, not using it for several decades. Hats reappeared on canvas in the fifties and sixties, becoming an important part of Rene's late career. By that time, associations with a man in a hat had changed dramatically: from a clear reference to the profession (detectives, mainly) to a symbol of the middle class.

But, as it should be in Magritte’s work, everything is not as it seems to us. "He plays with this feeling: 'We think we know who this person is, but do we?' says Caitlin Haskell, organizer of the Rene Magritte exhibition in San Francisco. “There is a sense of intrigue here, despite the fact that the figure itself is stereotypically bourgeois and is not of particular interest.”

A masterpiece, or the secrets of the horizon. 1955

“If you take the genius of Magritte and have to describe it in one sentence: “Why is Magritte so important?” Why are his images an integral part of the public imagination and consciousness?” This is because he creates incredibly clear and clear paintings that have no clear meaning,” says Anne Umland, curator of paintings and sculpture at the New York Museum. contemporary art. “The bowler hat works that way.”

There is a theory that the hat functioned as an “anonymizer” for Rene himself. Around the time that hats reappeared in paintings, Magritte began wearing a hat for photo shoots. It is quite possible that the gallant gentlemen from the paintings are self-portraits of Rene himself.

This is illustrated in a painting called "Son of Man", which acts as a self-portrait of the artist. Rene pictures a bowler hat and a large apple floating in front of his face, overshadowing his true personality.

Son of man. 1964

However, in the 50s, the streets of the city ceased to abound in bowler hats. The accessory became old-fashioned, and trend-following city dwellers had to give it up. Then Magritte's hats, painted in realistic style(at the height of abstract expressionism), became a symbol of anonymity. In Rene's paintings they came to the fore, instead of disappearing into the faceless crowd.

In fact, bowler hats became Magritte's iconographic signature. It turns out to be a funny irony: the artist chose a detail that would ensure unrecognizability, but everything worked the other way around. Now the bowler hat is one of the main objects of the work of the legendary Rene Magritte.

Alogism, absurdity, combination of the incongruous, paradoxical visual variability of images and figures - this is the basis of the foundations of surrealism. The founder of this movement is considered to be the embodiment of the theory of the subconscious of Sigmund Freud at the basis of surrealism. It was on this basis that many representatives of the movement created masterpieces that did not reflect objective reality, but were merely the embodiment of individual images inspired by the subconscious. The canvases painted by the surrealists could not be the product of either good or evil. They all evoked different emotions in different people. Therefore, we can say with confidence that this direction of modernism is quite controversial, which contributed to its rapid spread in painting and literature.

Surrealism as an illusion and literature of the 20th century

Salvador Dali, Paul Delvaux, Rene Magritte, Jean Arp, Max Ernst, Giorgio de Chirico, Yves Tanguy, Michael Parkes and Dorothy Tanning are the pillars of surrealism that emerged in France in the 20s of the last century. This trend is not limited to France, but has spread to other countries and continents. Surrealism greatly facilitated the perception of cubism and abstractionism.

One of the main postulates of the surrealists was the identification of the energy of creators with the human subconscious, which manifests itself in sleep, under hypnosis, in delirium during illness, or in random creative insights.

Distinctive characteristics of surrealism

Surrealism is a complex movement in painting, which many artists understood and understand in their own way. Therefore, it is not surprising that surrealism developed in two conceptual ways. different directions. The first branch can easily be attributed to Miro, Max Ernst, Jean Arp and Andre Masson, in whose works the main place was occupied by images that smoothly turn into abstraction. The second branch takes as a basis the embodiment of a surreal image generated by the human subconscious, with illusory accuracy. Salvador Dali, who is an ideal representative of academic painting, worked in this direction. It is his works that are characterized by an accurate rendering of chiaroscuro and a careful manner of painting - dense objects have tangible transparency, while solid objects spread, are massive and volumetric figures acquire lightness and weightlessness, and incompatible ones can be combined together.

Biography of Rene Magritte

Along with the works of Salvador Dali is the work of Rene Magritte, a famous Belgian artist who was born in the city of Lesin in 1898. In the family, except for Rene. there were two more children, and in 1912 a misfortune happened that influenced the life and work of the future artist - his mother died. This was reflected in Rene Magritte’s painting “In Memory of Mack Sennett,” which was painted in 1936. The artist himself claimed that circumstances had no influence on his life and work.

In 1916, Rene Magritte entered the Brussels Academy of Arts, where he met his future muse and wife Georgette Berger. After graduating from the Academy, Rene worked on creating advertising materials, and was quite dismissive of this. Futurism, Cubism and Dada had a huge influence on the artist, but in 1923 Rene Magritte first saw Giorgio de Chirico's work "Song of Love". It was this moment that became Starting point for the development of the surrealist René Magritte. At the same time, the formation of a movement began in Brussels, of which Rene Magritte became a representative along with Marcel Lecampt, Andre Suri, Paul Nouger and Camille Gemans.

The works of Rene Magritte.

The works of this artist have always been controversial and attracted a lot of attention.

Many artists pay Special attention names. Especially Rene Magritte. Paintings with the titles “This is not a pipe” or “Son of Man” awaken the thinker and philosopher in the viewer. In his opinion, not only the picture should encourage the viewer to show emotions, but also the title should surprise and make you think.
As for descriptions, many surrealists gave brief summary to your canvases. Rene Magritte is no exception. Paintings with descriptions have always been present in the artist’s advertising activities.

The artist himself called himself a “magical realist.” His goal was to create a paradox, and the audience should draw their own conclusions. Rene Magritte in his works always clearly drew a line between the subjective image and real reality.

Painting "Lovers"

Rene Magritte painted a series of paintings called “Lovers” in 1927-1928 in Paris.

The first picture shows a man and a woman who are united in a kiss. Their heads are wrapped in white cloth. The second painting depicts the same man and woman in white cloth, looking out from the painting at the audience.

The white fabric in the artist’s work causes and has caused heated discussions. There are two versions. According to the first, white fabric in the works of Rene Magritte appeared in connection with the death of his mother in early childhood. His mother jumped off a bridge into the river. When her body was removed from the water, a white cloth was found wrapped around her head. As for the second version, many knew that the artist was a fan of Fantômas, the hero of the popular movie. Therefore, it may be that the white fabric is a tribute to the passion for cinema.

What is this picture about? Many people think that the painting “Lovers” personifies blind love: when people fall in love, they stop noticing someone or something other than their soul mate. But people remain mysteries to themselves. On the other hand, looking at the kiss of lovers, we can say that they have lost their heads with love and passion. Rene Magritte's painting is filled with mutual feelings and experiences.

"Son of Man"

Rene Magritte's painting "The Son of Man" became business card « magical realism"and a self-portrait of Rene Magritte. This particular work is considered one of the most controversial works of the master.

Rene Magritte played important role in the development of surrealism, and his works continue to excite the consciousness of more and more generations.

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. Worthy of respect 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 it came to him global recognition, paintings were exhibited in Rome, London, New York, in general, in best galleries planets. 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 are 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

Magritte, Rene

Rene Magritte(Rene Magritte) 1898 - 1967 - Belgian surrealist artist. Philosopher of surrealism in fine arts. Known as the author strange paintings, which contain ambiguity and mystery. Unlike other surrealists, who strive to distort the object itself (form, image), in the paintings of Rene Magritte the “objectivity” of the image is almost not affected - the meaning, perception, understanding, multiplicity of meanings are surreal.

In each of his paintings, Magritte prepares a paradox. Each painting is a combination of an image, the way it is depicted and, even, the name of the painting. Magritte paid attention to the titles of paintings special meaning- they seem to “guide” the viewer into reflection, leading them into a “rebus”. They set the viewer up to search for a solution, but the answers found will be a paradox or an aporia for logic. This situation forces the viewer to immerse himself in thought processes, the conclusions from which may surprise the viewer himself. The viewer unwittingly becomes a philosopher.

This is what the artist strives for. For a similar effect of his paintings, he calls himself " magical realist ". As Rene Magritte himself said, his goal is to make the viewer think. And the style of the deliberate primitive simplicity of the images forces one to concentrate on their symbolism. Like no one else, Rene Magritte used and “speculated” on the principle - symbols rule the world.

A similar practice of perceiving ambiguity and involuntary development of thinking processes exists in the practices of Zen Buddhism, when paradoxical (contrary to logic) tasks lead to a stormy process of searching for an answer, and in end result- to understanding the harmonious beauty of answers. Philosophy of unity and integrity of opposites.

But Rene Magritte does not seek to develop the intellectual component of his work; he cynically exploits the popularity he has already gained. He stops only at the effect of visual perception, only creates a paradox of perception, and leaves subsequent conclusions to the viewer.

Unfortunately, the artist did not develop his unique style. Although Magritte had a lot later works in the form of "variations" of past good paintings that have received recognition. The semantic content of the paintings focuses on the idea - the paradoxical difference in perception between the image (image) and reality.

Famous image the man in the bowler hat becomes a symbol of the artist himself. Painting - " Son of man", has become a real masterpiece of the entire concept of the "magical realist" Rene Magritte, giving rise to many discussions and variations of reading. Even for a society where the modernist perception of the world and religion has become the norm, such use of symbols in the picture can be called an intellectual provocation. When contradictory conclusions arise in the viewer in his own head.

Despite the external primitivism in the technique of execution, the artist and his images become a very noticeable figure in the culture of Europe. His works and their symbolism become recognizable in society. Magritte's portrait appears on the 500 Belgian francs banknote.

Paintings by René Magritte:

1928-1929

1936

1967 - Magritte died of pancreatic cancer.