René MAGRITTE (1898-1967)
Except otherwise stated, all results include the premium.
See also : Old Flanders and Belgium Cities
Chronology : 1936 1937 1949 1957 1961
See also : Old Flanders and Belgium Cities
Chronology : 1936 1937 1949 1957 1961
1936 La Vengeance
2021 SOLD for € 14.6M by Christie's
In every work René Magritte invites the viewer in a dreamlike world where the juxtaposition of familiar objects becomes paradoxical. His limitless fantasy integrates a reflection about the deep nature of the images, which must be considered by themselves and not as a trial to reconstitute a reality or a truth.
Some artifacts get a major role in his surrealistic demonstration, especially when they mingle together. The world of the artist is a confusion between outside and inside, still enhanced by the role of the door which loses its separation role. The image within the image provides also a major role to the easel.
In 1931 in La Belle Captive, a continuous pastoral landscape incorporates an easel so that the viewer cannot know whether the frame on the easel is empty or includes a picture in the exact continuity of the landscape. In 1933 La Condition Humaine brings a further confusion between the easel and a porch.
On June 30, 2021, Christie's sold for € 14.6M from a lower estimate of € 6M La Vengeance, oil on canvas 55 x 65 cm painted in 1936, lot 108.
The easel is inside an empty room. It supports a landscape painting with a cloudy blue sky. The white clouds escape on the wall around the easel. A single grelot (jingle bell) on the floor is a signature artifact by the artist as a frequently used alternative to his baluster bilboquet.
The ultimate compositions from that trend are painted in 1939. A single white cloud is stuck in a half opened transparent door that stands alone in a seaside landscape, in La Victoire, or in a door embedded within a wall, in Le Poison (not to be confused with another Poison which is a precursor to L'Empire des Lumières).
Some artifacts get a major role in his surrealistic demonstration, especially when they mingle together. The world of the artist is a confusion between outside and inside, still enhanced by the role of the door which loses its separation role. The image within the image provides also a major role to the easel.
In 1931 in La Belle Captive, a continuous pastoral landscape incorporates an easel so that the viewer cannot know whether the frame on the easel is empty or includes a picture in the exact continuity of the landscape. In 1933 La Condition Humaine brings a further confusion between the easel and a porch.
On June 30, 2021, Christie's sold for € 14.6M from a lower estimate of € 6M La Vengeance, oil on canvas 55 x 65 cm painted in 1936, lot 108.
The easel is inside an empty room. It supports a landscape painting with a cloudy blue sky. The white clouds escape on the wall around the easel. A single grelot (jingle bell) on the floor is a signature artifact by the artist as a frequently used alternative to his baluster bilboquet.
The ultimate compositions from that trend are painted in 1939. A single white cloud is stuck in a half opened transparent door that stands alone in a seaside landscape, in La Victoire, or in a door embedded within a wall, in Le Poison (not to be confused with another Poison which is a precursor to L'Empire des Lumières).
1937 Le Principe du Plaisir
2018 SOLD for $ 27M by Sotheby's
Edward James is the son of an American railroad boss and of a supposed natural daughter of King Edward VII. He lives in England. He is a wealthy poet, and his interest in psychoanalysis is transformed into a passion for surrealist art.
In 1937 James is 30 years old. Dali introduces him to Magritte. Their connivance is immediate and perfect. Magritte proposes to make two surrealist portraits of his new patron.
Magritte sends a preparatory drawing to his model. He has chosen the theme of the portrait whose head is entirely replaced by a dazzling light. To make sure of James' enthusiasm, Magritte asks him to take care of the photographic preparation in the pose that matches the drawing. James has the picture taken by Man Ray.
On November 12, 2018, Sotheby's sold for $ 27M from a lower estimate of $ 15M this portrait of James by Magritte, oil on canvas 73 x 55 cm painted in 1937, lot 35. Magritte has friendly chosen a Freudian title, Le Principe du Plaisir. The outline of the head is embedded in a halo that makes the image even more laudative.
The provenance testifies to the lasting success of this portrait. It belonged to James and then to his foundation until 1978 and remained in another collection since 1979.
The second portrait, also painted in 1937, is titled La Reproduction Interdite. It is another development of the theme of the visible and the hidden. James looks at himself in a large mirror in which his reflection is seen from behind.
Please watch the video shared by Sotheby's.
In 1937 James is 30 years old. Dali introduces him to Magritte. Their connivance is immediate and perfect. Magritte proposes to make two surrealist portraits of his new patron.
Magritte sends a preparatory drawing to his model. He has chosen the theme of the portrait whose head is entirely replaced by a dazzling light. To make sure of James' enthusiasm, Magritte asks him to take care of the photographic preparation in the pose that matches the drawing. James has the picture taken by Man Ray.
On November 12, 2018, Sotheby's sold for $ 27M from a lower estimate of $ 15M this portrait of James by Magritte, oil on canvas 73 x 55 cm painted in 1937, lot 35. Magritte has friendly chosen a Freudian title, Le Principe du Plaisir. The outline of the head is embedded in a halo that makes the image even more laudative.
The provenance testifies to the lasting success of this portrait. It belonged to James and then to his foundation until 1978 and remained in another collection since 1979.
The second portrait, also painted in 1937, is titled La Reproduction Interdite. It is another development of the theme of the visible and the hidden. James looks at himself in a large mirror in which his reflection is seen from behind.
Please watch the video shared by Sotheby's.
L'Empire des Lumières
1
1949
2017 SOLD for $ 20.6M by Christie's
Surrealism is most often requiring an uneasy decoding. When practiced by René Magritte, it sometimes disturbs the viewer by the very simplicity of the message. La Trahison des Images painted in 1929 became the symbol of that language which is both offbeat and poetic.
With its title attributed by Paul Nougé, L'Empire des lumières reached a similar notoriety. The theme is commonplace : a night view of a suburb inspired by the Brussels district where Magritte resides.
The inhabitants are not visible but we imagine them behind the lighted windows. A lamppost illuminates the street with a questionable effectiveness. Beside these few glows the shadows are saturated. No contradiction of scale comes to puzzle the viewer.
Above this peaceful night the sky is blue, dotted with white clouds. The artist asks a poetic question for which he knows that there is no answer : are day and night incompatible or are they two complementary elements of real life ?
The first variant of the Empire des lumières was completed in 1949. This oil on canvas 49 x 59 cm was sold for $ 20.6M from a lower estimate of $ 14M by Christie's on November 13, 2017, lot 12 A.
Nobody dared questioning if the Empire des lumières was not just a mere realistic twilight. It somehow illustrates a typically Surrealist verse by Breton : 'Si seulement il faisait du soleil cette nuit'.
With its title attributed by Paul Nougé, L'Empire des lumières reached a similar notoriety. The theme is commonplace : a night view of a suburb inspired by the Brussels district where Magritte resides.
The inhabitants are not visible but we imagine them behind the lighted windows. A lamppost illuminates the street with a questionable effectiveness. Beside these few glows the shadows are saturated. No contradiction of scale comes to puzzle the viewer.
Above this peaceful night the sky is blue, dotted with white clouds. The artist asks a poetic question for which he knows that there is no answer : are day and night incompatible or are they two complementary elements of real life ?
The first variant of the Empire des lumières was completed in 1949. This oil on canvas 49 x 59 cm was sold for $ 20.6M from a lower estimate of $ 14M by Christie's on November 13, 2017, lot 12 A.
Nobody dared questioning if the Empire des lumières was not just a mere realistic twilight. It somehow illustrates a typically Surrealist verse by Breton : 'Si seulement il faisait du soleil cette nuit'.
2
1961
2022 SOLD for £ 60M by Sotheby's
The friends of the artist are enthusiastic about L'Empire des Lumières and Magritte makes a total of seventeen variants over the years. An Empire des lumières 100 x 80 cm painted in 1952 was sold for $ 12.7M by Christie's on May 7, 2002, lot 36.
The largest version of L'Empire des Lumières is the fifteenth, painted by Magritte from order for a present to a friend's daughter. It is an exceptional enlarged remake of a segment of the original painting in a rare panoramic format of similar proportions.
Matching some features of Magritte's ideal woman, the daughter revealed in 2015 that she had been the charming blonde model for La Fée ignorante, a beautiful title of an artwork indeed. The artist kindly said to the teenager : “tu vois, je te peignais déjà avant de te connaître...”»
Now consigned from that single ownership, this oil on canvas 115 x 146 cm was sold for £ 60M by Sotheby's on March 2, 2022, lot 114.
Magritte himself brings a disturbing continuation much later with La Fin du monde. Over the same place the sky has become black and in a better logic the horizon is still bright. The signature head with the bowler hat appears as a threat amidst the black silhouettes of the trees. This oil on canvas 82 x 100 cm painted in 1963 was sold for $ 7M by Christie's on November 1, 2011.
The largest version of L'Empire des Lumières is the fifteenth, painted by Magritte from order for a present to a friend's daughter. It is an exceptional enlarged remake of a segment of the original painting in a rare panoramic format of similar proportions.
Matching some features of Magritte's ideal woman, the daughter revealed in 2015 that she had been the charming blonde model for La Fée ignorante, a beautiful title of an artwork indeed. The artist kindly said to the teenager : “tu vois, je te peignais déjà avant de te connaître...”»
Now consigned from that single ownership, this oil on canvas 115 x 146 cm was sold for £ 60M by Sotheby's on March 2, 2022, lot 114.
Magritte himself brings a disturbing continuation much later with La Fin du monde. Over the same place the sky has become black and in a better logic the horizon is still bright. The signature head with the bowler hat appears as a threat amidst the black silhouettes of the trees. This oil on canvas 82 x 100 cm painted in 1963 was sold for $ 7M by Christie's on November 1, 2011.
1957 Le Seize Septembre
2019 SOLD for $ 19.6M by Christie's
The Moon is the king of the dark night. In 1956 Le Seize septembre by Magritte shows the crescent above a meadow centered by a large tree. In a closer inspection, the Moon is in the middle of the tree instead of being in the sky.
A 162 x 130 cm version painted in 1957 was sold for $ 19.6M from a lower estimate of $ 7M by Christie's on November 11, 2019, lot 16A.
A 162 x 130 cm version painted in 1957 was sold for $ 19.6M from a lower estimate of $ 7M by Christie's on November 11, 2019, lot 16A.
1960 La Corde Sensible
2017 SOLD for £ 14.4M by Christie's
In his deeply original way René Magritte is the less hermetic of the surrealists. His art is nothing more than lines and colors. His exegetes are far more complicated than himself. His themes disconcert by the incongruous mingling of the opposites : day and night, flesh and rock, animal and vegetable, or an object that floats freely in the sky.
In 1960, Magritte is looking for new themes involving the four primordial substances : water, air, earth, fire. The cloud, which is altogether immaterial and opaque, perpetually malleable, is a major figure of his Olympus.
On February 28, 2017, Christie's sold for £ 14.4M La Corde sensible, oil on canvas 114 x 146 cm which is a large size for this artist, lot 110. Let us remind that the title of a work by Magritte is always a result of chance without a meaningful connection with the image.
The well-centered cloud is at its normal position in the sky above a landscape. It appears as laying and slightly entering into a monumental crystal coupe.
The mystery is multiple : Is the glass empty or full ? Is the cloud the cream of a cocktail ? What Gulliver will approach his lips onto this impossible vapor ? What is the true distance to the glass ? What is the reality of the landscape? What is the reality of our own world ? By its absence of animal or human being, La Corde sensible provides no mark.
In 1960, Magritte is looking for new themes involving the four primordial substances : water, air, earth, fire. The cloud, which is altogether immaterial and opaque, perpetually malleable, is a major figure of his Olympus.
On February 28, 2017, Christie's sold for £ 14.4M La Corde sensible, oil on canvas 114 x 146 cm which is a large size for this artist, lot 110. Let us remind that the title of a work by Magritte is always a result of chance without a meaningful connection with the image.
The well-centered cloud is at its normal position in the sky above a landscape. It appears as laying and slightly entering into a monumental crystal coupe.
The mystery is multiple : Is the glass empty or full ? Is the cloud the cream of a cocktail ? What Gulliver will approach his lips onto this impossible vapor ? What is the true distance to the glass ? What is the reality of the landscape? What is the reality of our own world ? By its absence of animal or human being, La Corde sensible provides no mark.
1962 A la Rencontre du Plaisir
2020 SOLD for £ 19M by Christie's
Magritte's surrealism is an incongruous juxtaposition of easily recognizable ordinary elements. After the war, he is famous and spectators are looking for surrealist interpretations. When there is none, as in L'Empire des lumières, the artist reaches another dimension. He becomes a poet.
The Moon is a recurring element in the art of Magritte. Full or in crescent, it shines at dusk or at night. In 1955 Le Maître d'école is an example of the new preponderance of poetry in his art. In a soft twilight, the man with the bowler hat turns his back to us for looking at a wasteland bordered by a few houses. The bright crescent is just above the hat. A 33 x 25 cm gouache was sold for $ 6.7M by Sotheby's on November 5, 2015.
There is nothing impossible in A la rencontre du plaisir, oil on canvas 46 x 55 cm painted in 1962, without relation to previous works of the same title. Probably composed for his circle of friends, this painting brings together several traditional elements of the artist. It was sold for £ 19M from a lower estimate of £ 8M by Christie's on February 5, 2020, lot 32.
The full moon shines above a glade in the still blue sky of a much advanced twilight. The man with the hat is in the same position as in Le Maître d'école, but almost indistinguishable in this atmosphere which is even darker than in L'Empire des lumières. On the left, the composition is completed by the theater curtain, symbol of a fake world.
The Moon is a recurring element in the art of Magritte. Full or in crescent, it shines at dusk or at night. In 1955 Le Maître d'école is an example of the new preponderance of poetry in his art. In a soft twilight, the man with the bowler hat turns his back to us for looking at a wasteland bordered by a few houses. The bright crescent is just above the hat. A 33 x 25 cm gouache was sold for $ 6.7M by Sotheby's on November 5, 2015.
There is nothing impossible in A la rencontre du plaisir, oil on canvas 46 x 55 cm painted in 1962, without relation to previous works of the same title. Probably composed for his circle of friends, this painting brings together several traditional elements of the artist. It was sold for £ 19M from a lower estimate of £ 8M by Christie's on February 5, 2020, lot 32.
The full moon shines above a glade in the still blue sky of a much advanced twilight. The man with the hat is in the same position as in Le Maître d'école, but almost indistinguishable in this atmosphere which is even darker than in L'Empire des lumières. On the left, the composition is completed by the theater curtain, symbol of a fake world.
1962 L'Arc de Triomphe
2020 SOLD for £ 17.8M by Christie's
L'Arc de Triomphe, painted by Magritte in 1962, features in a low contrast of twilight a full height chestnut tree against a background of leaves seen in close-up, confronting the trunk as a symbol of stillness with its free foliage.
Such departure from his signature Surrealism to some decorative effect was made at a restart point after an illness, when the artist suddenly desired to explore a theme of Les Goûts et les Couleurs, which was indeed the original title of that painting.
This large size oil on canvas 130 x 162 cm was sold for £ 17.8M from a lower estimate of £ 6.5M by Christie's on July 6, 2020, lot 36.
Such departure from his signature Surrealism to some decorative effect was made at a restart point after an illness, when the artist suddenly desired to explore a theme of Les Goûts et les Couleurs, which was indeed the original title of that painting.
This large size oil on canvas 130 x 162 cm was sold for £ 17.8M from a lower estimate of £ 6.5M by Christie's on July 6, 2020, lot 36.
1962-1963 Souvenir de Voyage
2022 SOLD for £ 16M by Christie's
A small size undated painting by Magritte was sold for £ 3.4M by Sotheby's on March 1, 2017, lot 50 and for £ 16M by Christie's on June 28, 2022, lot 40.
Typically for its period ca 1962-1963, this oil on canvas 41 x 33 cm has a banal title which is a reuse from an earlier opus of a non related theme, Souvenir de voyage. The composition is simple and effective.
The new Souvenir de voyage is confronting two of the lifelong themes of the artist, the still life made incongruous by turning to stone and the night and day effect.
The monumental apple shaped rock monopolizes the foreground. Night and day is a twilight sky with heavy clouds centered in a bright moon crescent while a midday shadow surfaces on the sand under the apple. The slim crescent moon is straight above the apple tail.
Another Souvenir de voyage from the same series is displaying a petrified candle standing on the beach under an open sky.
Typically for its period ca 1962-1963, this oil on canvas 41 x 33 cm has a banal title which is a reuse from an earlier opus of a non related theme, Souvenir de voyage. The composition is simple and effective.
The new Souvenir de voyage is confronting two of the lifelong themes of the artist, the still life made incongruous by turning to stone and the night and day effect.
The monumental apple shaped rock monopolizes the foreground. Night and day is a twilight sky with heavy clouds centered in a bright moon crescent while a midday shadow surfaces on the sand under the apple. The slim crescent moon is straight above the apple tail.
Another Souvenir de voyage from the same series is displaying a petrified candle standing on the beach under an open sky.
1964 Le Lieu Commun
2019 SOLD for £ 18.4M by Christie's
René Magritte transforms any object into an illusion. The mystery of the composition must attract and maintain the observer, but there is no explanation. There is the same relationship between the real world and the painting as between an object and its advertising.
Magritte patiently built his universe with images of objects that intersect, merge, overlap, repeat in an endless game. In real life, he blends into the banality by wearing the suit, the tie and the bowler hat of Mr. Everybody.
The man and the woman have different roles. The woman is naked, full front, ready to merge into an antique marble. Unlike her, the man with the bowler hat very rarely displays his face, hidden by the invading flight of an apple or a bird. There are no self-portraits, except when this theme has been explicitly ordered by a client, because the artist has abolished any difference between himself and the others.
On February 27, 2019, Christie's sold for £ 18.4M Le Lieu commun, oil on canvas 100 x 81 cm painted in 1964, lot 108. Please watch the video prepared by the auction house.
In a composition cut up like disparate strips of wallpaper, the man with the bowler hat appears twice. On the left he is in front with his banal face fully visible. On the right, limited to the nape of the neck, the ear and the back of the jacket, he leaves the stage.
The man is there but he is nowhere. The right portion scrolls smoothly between the edge of the wall and the landscape, but the left portrait is truncated by the same piece of landscape in front of a similar wall. If we re-assemble these two pieces, the head would be complete.
Like Escher and his impossible figures, Magritte abolishes the three-dimensional logic. At the same time, he is preparing his masterpiece of this kind, titled Le blanc-seing, showing a horse and its riding woman cut by the forest.
Magritte patiently built his universe with images of objects that intersect, merge, overlap, repeat in an endless game. In real life, he blends into the banality by wearing the suit, the tie and the bowler hat of Mr. Everybody.
The man and the woman have different roles. The woman is naked, full front, ready to merge into an antique marble. Unlike her, the man with the bowler hat very rarely displays his face, hidden by the invading flight of an apple or a bird. There are no self-portraits, except when this theme has been explicitly ordered by a client, because the artist has abolished any difference between himself and the others.
On February 27, 2019, Christie's sold for £ 18.4M Le Lieu commun, oil on canvas 100 x 81 cm painted in 1964, lot 108. Please watch the video prepared by the auction house.
In a composition cut up like disparate strips of wallpaper, the man with the bowler hat appears twice. On the left he is in front with his banal face fully visible. On the right, limited to the nape of the neck, the ear and the back of the jacket, he leaves the stage.
The man is there but he is nowhere. The right portion scrolls smoothly between the edge of the wall and the landscape, but the left portrait is truncated by the same piece of landscape in front of a similar wall. If we re-assemble these two pieces, the head would be complete.
Like Escher and his impossible figures, Magritte abolishes the three-dimensional logic. At the same time, he is preparing his masterpiece of this kind, titled Le blanc-seing, showing a horse and its riding woman cut by the forest.
