René Magritte

Selected Works Thumbnail View
Self-portrait in his studio, 1955 Gelatin silver print 2 1/4 x 2 1/2 inches  Self-portrait in his studio, 1955 Gelatin silver print 2 1/4 x 2 1/2 inches  

Self-portrait in his studio, 1955

Gelatin silver print

2 1/4 x 2 1/2 inches

 

”L’Ombre et son ombre”, René et Georgette Magritte, Bruxelles, Rue Esseghem, 1932 Gelatin silver print 3 1/2 x 2 3/8 in. (9 x 6.3 cm) p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; text-align: center; font: 12.0px Arial}”L’Ombre et son ombre”, René et Georgette Magritte, Bruxelles, Rue Esseghem, 1932 Gelatin silver print 3 1/2 x 2 3/8 in. (9 x 6.3 cm) p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; text-align: center; font: 12.0px Arial}

”L’Ombre et son ombre”, René et Georgette Magritte, Bruxelles, Rue Esseghem, 1932
Gelatin silver print
3 1/2 x 2 3/8 in. (9 x 6.3 cm)

René Magritte / Shunk-Kender René Magritte posant avec ”La Ressemblance” (partie de L’évidence éternelle” (1954), 1962-1964 Gelatin silver print 9 1/4 x 7 in. (23.8 x 18 cm) p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; text-align: center; font: 12.0px Arial}René Magritte / Shunk-Kender René Magritte posant avec ”La Ressemblance” (partie de L’évidence éternelle” (1954), 1962-1964 Gelatin silver print 9 1/4 x 7 in. (23.8 x 18 cm) p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; text-align: center; font: 12.0px Arial}

René Magritte / Shunk-Kender
René Magritte posant avec ”La Ressemblance”
(partie de L’évidence éternelle” (1954),
1962-1964
Gelatin silver print
9 1/4 x 7 in. (23.8 x 18 cm)

René Magritte et "La Durée Poignardée" (1938), Bruxelles, 1938 Gelatin silver print 3 1/2 x 3 1/2 inchesRené Magritte et "La Durée Poignardée" (1938), Bruxelles, 1938 Gelatin silver print 3 1/2 x 3 1/2 inches

René Magritte et "La Durée Poignardée" (1938), Bruxelles, 1938
Gelatin silver print
3 1/2 x 3 1/2 inches

Variante de la photographie connue souds les titre “Dieu, le huitiéme jour” Bruxelles, Rue Esseghem, 1937  Gelatin silver print, printed c. 1960s  p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; text-align: center; font: 12.0px Arial} 7 x 5 in. (17.8 x 12.6 cm)Variante de la photographie connue souds les titre “Dieu, le huitiéme jour” Bruxelles, Rue Esseghem, 1937  Gelatin silver print, printed c. 1960s  p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; text-align: center; font: 12.0px Arial} 7 x 5 in. (17.8 x 12.6 cm)

Variante de la photographie connue souds les titre “Dieu, le huitiéme jour”
Bruxelles, Rue Esseghem,
1937 

Gelatin silver print, printed c. 1960s 

7 x 5 in. (17.8 x 12.6 cm)

Le Rendez-Vous, Georgette Magritte, Bruxelles, 1938  Gelatin silver print  p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; text-align: center; font: 12.0px Arial} 9 3/8 x 7 in. (23.9 x 17.8 cm)Le Rendez-Vous, Georgette Magritte, Bruxelles, 1938  Gelatin silver print  p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; text-align: center; font: 12.0px Arial} 9 3/8 x 7 in. (23.9 x 17.8 cm)

Le Rendez-Vous, Georgette Magritte, Bruxelles, 1938 

Gelatin silver print 

9 3/8 x 7 in. (23.9 x 17.8 cm)

L’Espion, 1928  Solarized gelatin silver print  p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; text-align: center; font: 12.0px Arial} 3 1/8 x 4 3/8 in. (8.2 x 11.2 cm)L’Espion, 1928  Solarized gelatin silver print  p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; text-align: center; font: 12.0px Arial} 3 1/8 x 4 3/8 in. (8.2 x 11.2 cm)

L’Espion, 1928 

Solarized gelatin silver print 

3 1/8 x 4 3/8 in. (8.2 x 11.2 cm)

Regarded as one of the most important artists of the post-war era in Europe, René Magritte was a leading figure in the Surrealist movement. He sought revolution against the
rational mind, stating, “Everything we see hides another thing; we always want to see
what is hidden by what we see.” Widely recognized for his stunning, and often haunting paintings which juxtapose common objects within dream-like scenarios, Magritte was a master provocateur. Revisiting motifs of cloth-covered figures, objects in flight, and concealed identity have become a well-known hallmark of his distinct sensibility, often signaling back to trauma of the artist’s past. His Surrealist masterpieces tantalize and distort reality, evoking a singular sense of mystery within the viewer. Magritte's approach to painting and sculpture avoided stylistic distractions of modern art making. His recently discovered films and photographs reveal how he used these art forms to explore the bounds of his imagination.  His photographs and films were the subject of a major exhibition, René Magritte: The Revealing Image, Photos and Films recently at the Latrobe Gallery, Victoria, Australia, (August 19 - November 19, 2017).