Magritte’s first word pictures were produced about the time of his move from Brussels to France in 1927. The Schirn is presenting one version of his most famous painting from this group of works, La Trahison des images (Ceci n’est pas une pipe) (The Treachery of Images (This is not a Pipe)) (1927). The painting shows a pipe rendered in his typical precise style and beneath it the words.
Jan 6, 2014 - Illustrated essays about visual culture by Rick Poynor. See more ideas about Design observer, Art, Essay.
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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.
Although this familiar image has filled volumes of texts about art, signs, and representation, Magritte’s message is relatively simple: The image on the canvas is not a pipe, but a portrayal or a representation of a pipe. As Magritte himself observed, “The famous pipe. How people reproached me for it! And yet, could you stuff my pipe?
Four scholarly essays follow on a general introduction by the show's curators; these trace Magritte's path during this period of his life, from his initial involvement with Surrealism in Brussels (1926-27), his decision to live in Paris in order to be closer to the center of the movement and the failure to become satisfactorily established there (1927-30), his return to Brussels (1930-36), and.
You’ll see pipes, clouds, bowler hats, paintings dealing with words and images together. But Magritte’s later pictures tend to be brighter and lighter than his surrealist paintings of the 1920s and 1930s — literally, in terms of their color and palette, and also in terms of their mood. I suppose you could say that he takes lessons learned in Surrealism, particularly our readiness to be.
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