When Belgium was occupied by Germany during World War II, René Magritte adopted the style of Pierre-Auguste Renoir and painted images based on popular cartoons.
In the graphic novel Magritte: This is Not a Biography, characters from the Surrealist artist’s paintings come to life.
The final piece of the work was found beneath the surface of another painting, after the artist had cut up and recycled the original canvas.
There’s something confident about this old-school European fair — the exhibitors let the game come to them.
When René Magritte wrote “This is not a pipe,” he wasn’t negating the pipe so much as he was negating the language with which we attempt to grasp it.
Kathleen Rooney’s most recent project, René Magritte: Selected Writings, co-edited with Eric Plattner, is somewhat out of the ordinary for this Chicago-based writer. This book offers English speakers a chance to dive into the life of René Magritte, the lauded Belgian surrealist painter.
Raphaëlle Martin has published a new set of Magritte-inspired animations that demonstrates how much more bizarre the Surrealist’s paintings can be when brought to life and played on a loop.
When most people are bored at work, they surf Facebook. Not so with Francesco Fragomeni and Chris Limbrick, two employees at the website creation startup Squarespace who funneled their creative energy into photographic homages to the art historical canon.
Whatever you do, don’t tell Sterling Bartlett’s René Magritte–inspired tee what it can and cannot be.
Memories fade. That’s the one good reason, as far as I can see, to compile an end-of-year list. It’s sometimes startling to retrace what attracted my attention over the course of a year; it is also instructive to determine where such a miscellany of shows fits in with ongoing areas of interest, and which ones, in hindsight, merited the time it took to review them.
In his dismissal of Magritte: The Mystery of the Ordinary, 1926–1938 — the recently opened retrospective of René Magritte (1898-1967) at the Museum of Modern Art — the New York Times’ Holland Cotter cites the ubiquity of the Belgian surrealist’s images and the relative paucity of insight to be gleaned from seeing them in person.
Many people love art for its power to transport, whether through a painting that brings us to the banks of the Seine in 19th-century France or an installation that immerses us in a fanciful and imagined alternate world. But what about when art refuses to carry us away, offering instead only blank space, an empty frame staring back at us?