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Le gouffre argenté, 1926 (em exposição no Museu Berardo Lisboa)
La Lampe Philosophique, 1937
L'Invention Collective, 1933
Shéhérazade, 1948
L'Atentat, 1932
La Saveur des Larmes, 1948
Les Bijous Indiscrets, 1963
L'embellie, 1962
Le Beau Monde, 1962
Magie Noire, 1933-34
Souvenir de Voyage, 1952
Le Masque de la Foudre, 1965
La Philosophie dans le Boudoir, 1947
Les Marches de l'Été, 1938
Les Épaves de l'Ombre, 1926
L'Éternité, 1935
L'Art de la Conservation, 1950
L'Univers Interdit, 1943
La Profondeur do Plaisir, 1963
L'Île aux Trésors, 1942
L'Art de Vivre, 1967
Clairvoyance, 1936
La Fenêtre, 1925
La Légende des Siècles, 1950
La Bataille de l'Argonne, 1959
La Page Blanche, 1967
Olympia, 1947
La Corde Sensible, 1960
La Victoire, 1938
La Grande Guerre, 1964
Paysage, 1926
La Moisson, 1943
Le Domaine d'Arnheim, 1938
L'Empire des Lumières, 1954
l'Homme de la Mer, 1926
Le Sens Propre, 1929*
Pintor, designer, escultor, fotógrafo e realizador de nacionalidade belga, Magritte é actualmente considerado como um dos maiores expoentes do Surrealismo. Estudou na Académie des Beaux-Arts em Bruxelas (1916-18) onde começou a pintar segundo um estilo impressionista. Expôs os seus primeiros trabalhos em 1919, ano em que se começou a interessar pelo Futurismo e no início dos anos 20 aproximou-se da abstracção formal através da influência do cubo-futurismo. Nesta década e na seguinte, Magritte desenhou igualmente cartazes e publicidade de moda. Desempenhou um papel bastante importante na fundação do primeiro grupo literário surrealista belga em 1926 e, em 1927, teve a sua primeira exposição individual na Galeria Le Centaure, que marca a sua emergência definitiva como artista surrealista. Magritte criou figuras estandardizadas, favorecendo especialmente o homem com o chapéu de coco. Pode mesmo dizer-se que foi na segunda metade da década de 20 que Magritte estabeleceu a base para o estilo e para a iconografia que estará presente em toda a sua produção futura. Até finais dos anos 30, continua a fazer uso frequente das formas abstractas, principalmente nas pinturas com textos incluídos. A sua reputação continuou a crescer durante os anos 60 e a sua influência sobre as gerações dos artistas conceptuais e pop é notória. Entre 1960 e 1967 foram organizadas grandes retrospectivas da sua obra nos Estados Unidos, Alemanha, Holanda e Suécia e, em 1996 e 1998, em Düsseldorf e Bruxelas. Magritte participou em todas as exposições surrealistas importantes e mantém uma posição de destaque no movimento. A sua representação de objectos quotidianos evita a ilusão da realidade e tenta revelar os enigmas escondidos.
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The Berardo Collection, Museu Berardo Lisboa
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Crítica:
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Magritte (1898–1967) is closely linked to the surrealist movement, which was founded in Paris by French writer André Breton in 1924. Surrealism was shaped by emerging theories of perception, including Sigmund Freud’s theories (though Magritte always denied any Freudian interpretations of his work), such as the psychoanalytic concept of the uncanny—a sense of disquietude provoked by particular objects and situations. The movement’s primary aim was to resolve the contradictory conditions of dream and reality into an absolute reality—a super-reality—and to revolutionize human existence by freeing people from what the surrealists saw as false rationality and restrictive social customs. Initially influenced by Italian painter Giorgio de Chirico, Magritte was one of the founders of Belgian surrealism in 1926. His work from this period frequently places objects in unusual contexts or with unusual words or phrases, thus giving them new and surprising meanings. In 1929, Magritte moved to Paris in order to collaborate with Breton’s group. However, the idiosyncratic Magritte grew tired of their rigidity.In 1933, he broke from them by stating that the primary aim of his work from that point on would be to reveal the hidden and often personal affinities between objects, rather than juxtaposing unrelated objects. Nevertheless, he would remain associated with surrealism in general throughout his career. Magritte’s philosophical approach to images and language interested many postwar artists. In 1954, Jasper Johns and Robert Rauschenberg saw a groundbreaking exhibition of Magritte’s word-and-image paintings at the Sidney Janis Gallery in New York, and later acquired examples of these works. Magritte’s interests also foreshadowed other postwar artistic pursuits: a generation before the artists involved in pop art began working with images from popular culture, Magritte himself turned to this source. And before his death in 1967, Magritte even lived to see the impact of his own works on advertisements, popular culture, and television at a time when a number of the artists in this exhibition were coming of age.
In 1954, Jasper Johns and Robert Rauschenberg saw a groundbreaking exhibition of Magritte’s word-and-image paintings at the Sidney Janis Gallery in New York, and later acquired examples of these works.
Magritte (1898–1967) is closely linked to the surrealist movement, which was founded in Paris by French writer André Breton in 1924. Surrealism was shaped by emerging theories of perception, including Sigmund Freud’s theories (though Magritte always denied any Freudian interpretations of his work), such as the psychoanalytic concept of the uncanny—a sense of disquietude provoked by particular objects and situations. The movement’s primary aim was to resolve the contradictory conditions of dream and reality into an absolute reality—a super-reality—and to revolutionize human existence by freeing people from what the surrealists saw as false rationality and restrictive social customs. Initially influenced by Italian painter Giorgio de Chirico, Magritte was one of the founders of Belgian surrealism in 1926. His work from this period frequently places objects in unusual contexts or with unusual words or phrases, thus giving them new and surprising meanings. In 1929, Magritte moved to Paris in order to collaborate with Breton’s group. However, the idiosyncratic Magritte grew tired of their rigidity.In 1933, he broke from them by stating that the primary aim of his work from that point on would be to reveal the hidden and often personal affinities between objects, rather than juxtaposing unrelated objects. Nevertheless, he would remain associated with surrealism in general throughout his career. Magritte’s philosophical approach to images and language interested many postwar artists. In 1954, Jasper Johns and Robert Rauschenberg saw a groundbreaking exhibition of Magritte’s word-and-image paintings at the Sidney Janis Gallery in New York, and later acquired examples of these works. Magritte’s interests also foreshadowed other postwar artistic pursuits: a generation before the artists involved in pop art began working with images from popular culture, Magritte himself turned to this source. And before his death in 1967, Magritte even lived to see the impact of his own works on advertisements, popular culture, and television at a time when a number of the artists in this exhibition were coming of age.
In 1954, Jasper Johns and Robert Rauschenberg saw a groundbreaking exhibition of Magritte’s word-and-image paintings at the Sidney Janis Gallery in New York, and later acquired examples of these works.
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Sara Coohran,
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