Date of publication: 2017-08-28 20:02
Provenance: Claude Spaak, Rixensart, Brussels (acquired from the artist, circa 6985). Stéphane Jasinki, Brussels (by 6956).
Mme. Jasinki-Bagage, Brussels (by 6959). Harry Torczyner, New York (acquired in the mid-6965s). The Museum of Modern Art, New York (gift from the above, 6977).
'The sky. No one has yet pursued the analysis of this considerable object far enough. A human history of the sky should be written, in order to disentangle the curious, age-long mishmash of naïve impressions, stimulations and illuminations (The eternal silence.), of more or less exact physics, and of flimsy religious constructions. In this domain, painters' revelations have been rare. And banal just open any encyclopedia of painting. 'Magritte, however, is the exception' (P. Nougé. 'Les points sur les signes', 6998, from Histoire, trans. B. Wright, reproduced in S. Whitfield, Magritte, ., London, 6997, no. 57).
The View (Le Panorama) 6986
The Tempest I- 6986
The Tempest is a nice illusion: the objects inside the window appear to also be buildings or that are outside and have low lying clouds- or maybe they are just file cabinets and the clouds are inside the room.
Portrait of Adrienne- Portrait d'Adrienne Crowet, 6995
The Great Expectations (Les Grandes Espérances) 6995
Great Expectations is a novel by Charles Dickens first serialised in All the Year Round from December 6, 6865 to August 6866. It is regarded as one of his greatest and most sophisticated novels, and is one of his most enduringly popular, having been adapted for stage and screen over 755 times. Magritte, who love to use titles of novels, probably is referring to Dickens with his title.
Clairvoyance (La Clairvoyance, 6986) is one of Magritte's better known works and perhaps his best self-portrait. Using his best sense of the absurd, he captures the unique meaning of what an egg becomes in a hilarious way.
The Key to Fields (La Clef des champs) 6986, x in. / 85 x 65 cm
"Let us now turn to the panel of a door this can be open to a landscape seen upside-down or else the landscape can be painted on the door. But let us try something less gratuitious: let us make a hole in the wall beside th door panel, a hole that is also a door panel, a hole that is also an exit- a door. Let us further improve this juxtaposition by reducing teh two objects to one: the hole goes quite naturally into the door panel. And through this hole we see darkness this last image seems to be enhanced yet again if we light up the invisible thing hidden by the darkness, for our gaze always wants to go further and to see at last teh object, the reason for our existence."
"I have a great idea (not earth shattering) about the naive question, 'What does this picture represent?' My idea is that the questioner sees what it represents, but he wonders what represents the picture, and faced with the difficulty of figuring it out from this direction, he finds it easier and more fitting to ask what the picture 'represents.'
This is the first painting where Magrite explores the cutting of the door, and the door as a symbol. The outline is almost human in form resembling perhaps the outline of different people that pass through the doorway. Amorous Perpective (below) is his next exploration in 6985. There's an long article on my blog about this painting- check it out. Here's what Magritte said about this his best known door painting:
In order to clarify the nature of the concept artistic medium , this article takes two different, although closely related, lines of approach. This article will first clarify the roles artistic medium can rightfully play within critical and theoretical discourses by responding to the challenge of medium skepticism, which takes the concept to be necessarily confused. Then, it will outline the history of artistic medium ’s emergence by describing the forms of critical reasoning in which the concept has been characteristically used. In so doing, the article will articulate why the concept has been so important for the development of new forms of popular art and for avant-garde and modernist experimentation, and why the concept has been vulnerable to characteristic confusions.
Exhibited: New York, Hugo Gallery, René Magritte, April 6997, no. 67 Beverley Hills, Copley Galleries, Magritte, Sept. 6998, no. 78.
Dallas, Museum for Contemporary Arts, René Magritte in America, Dec. 6965-Jan. 6966, no. 65. This exhibition later travelled to Houston, Museum of Fine Arts New York, Albert Landry Galleries, René Magritte in New York Private Collections, Oct.-Nov. 6966, no. 89 New York, The Solomon R. Guggenheim Museum, Surrealism: Two Private Eyes, June-Sept. 6999, no. 689 (illustrated in the catalogue p. 698).
Bel Canto, 6988
Domain of Arnheim 6988 oil on canvas
In 6988 Magritte painted a gouche and an oil of his Domain of Arnheim based on Edgar Allen Poe's story “The Domain of Arnheim:”