René Magritte
René Magritte | |
---|---|
Born | René François Ghislain Magritte 21 November 1898 Lessines, Belgium |
Died | 15 August 1967 Brussels, Belgium | (aged 68)
Known for | Painter |
Notable work | The Treachery of Images The Son of Man The Human Condition Golconda The Menaced Assassin |
Movement | Surrealism |
Signature | |
René François Ghislain Magritte (French:
Early life
René Magritte was born in
On 24 February 1912, his mother died by
Career
Magritte's earliest paintings, which date from about 1915, were
From December 1920 until September 1921, Magritte served in the Belgian infantry in the
In 1922–1923, Magritte worked as a draughtsman in a wallpaper factory, and was a poster and advertisement designer until 1926, when a contract with Galerie Le Centaure in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal painting, The Lost Jockey (Le jockey perdu), and held his first solo exhibition in Brussels in 1927.[7] Critics heaped abuse on the exhibition.[11]
Depressed by the failure, he moved to Paris where he became friends with André Breton and became involved in the Surrealist group. An illusionistic, dream-like quality is characteristic of Magritte's version of Surrealism. He became a leading member of the movement, and remained in Paris for three years.[12] In 1929, he exhibited at Goemans Gallery in Paris with Salvador Dalí, Jean Arp, de Chirico, Max Ernst, Joan Miró, Picabia, Picasso and Yves Tanguy.[citation needed]
On 15 December 1929, Magritte participated in the last publication of La Revolution Surrealiste No. 12, where he published his essay "Les mots et les images", where words play with images in sync with his work The Treachery of Images.[13]
Galerie Le Centaure closed at the end of 1929, ending Magritte's contract income. Having made little impact in Paris, Magritte returned to Brussels in 1930 and resumed working in advertising.[14] He and his brother, Paul, formed an agency which earned him a living wage. In 1932, Magritte joined the Communist Party, which he would periodically leave and rejoin for several years.[14] In 1936 he had his first solo exhibition in the United States at the Julien Levy Gallery in New York, followed by an exposition at the London Gallery in 1938.[15]
Between 1934 and 1937, Magritte drew film posters under the pseudonym 'Emair' for the German sound film distributor
During the early stages of his career, the British surrealist patron Edward James allowed Magritte to stay rent-free in his London home, where Magritte studied architecture and painted. James is featured in two of Magritte's works painted in 1937, Le Principe du Plaisir (The Pleasure Principle) and La Reproduction Interdite, a painting also known as Not to Be Reproduced.[16]
During the German occupation of Belgium in World War II he remained in Brussels, which led to a break with Breton. He briefly adopted a colorful, painterly style in 1943–44, an interlude known as his "Renoir period", as a reaction to his feelings of alienation and abandonment that came with living in German-occupied Belgium.[17]
In 1946, renouncing the violence and pessimism of his earlier work, he joined several other Belgian artists in signing the manifesto Surrealism in Full Sunlight.[18] During 1947–48, Magritte's "Vache period", he painted in a provocative and crude Fauve style. During this time, Magritte supported himself through the production of fake Picassos, Braques, and de Chiricos—a fraudulent repertoire he was later to expand into the printing of forged banknotes during the lean postwar period. This venture was undertaken alongside his brother Paul and fellow Surrealist and "surrogate son" Marcel Mariën, to whom had fallen the task of selling the forgeries.[19] At the end of 1948, Magritte returned to the style and themes of his pre-war surrealistic art.[20]
In France, Magritte's work has been showcased in a number of retrospective exhibitions, most recently at the
Politically, Magritte stood to the left, and retained close ties to the Communist Party, even in the post-war years. However, he was critical of the functionalist cultural policy of the Communist left, stating that "Class consciousness is as necessary as bread; but that does not mean that workers must be condemned to bread and water and that wanting chicken and champagne would be harmful. (...) For the Communist painter, the justification of artistic activity is to create pictures that can represent mental luxury." While remaining committed to the political left, he thus advocated a certain autonomy of art.[22][23] Spiritually, Magritte was an agnostic.[24]
Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced
Personal life
Magritte married Georgette Berger in June 1922. Georgette was the daughter of a butcher in Charleroi, and first met Magritte when she was 13 and he was 15. They met again seven years later in Brussels in 1920[25] and Georgette, who had also studied art, became Magritte's model, muse, and wife.[26]
In 1936, Magritte's marriage became troubled when he met a young performance artist, Sheila Legge, and began an affair with her. Magritte arranged for his friend, Paul Colinet, to entertain and distract Georgette, but this led to an affair between Georgette and Colinet. Magritte and his wife did not reconcile until 1940.[27]
Magritte died of pancreatic cancer on 15 August 1967, aged 68, and was interred in Schaerbeek Cemetery, Evere, Brussels.[28]
Philosophical and artistic gestures
It is a union that suggests the essential mystery of the world. Art for me is not an end in itself, but a means of evoking that mystery.
René Magritte on putting seemingly unrelated objects together in juxtaposition[29]
Magritte's work frequently displays a collection of ordinary objects in an unusual context, giving new meanings to familiar things. The use of objects as other than what they seem is typified in his painting,
Magritte's work has been described by Suzi Gablik as "a systematic attempt to disrupt any dogmatic view of the physical world."[33] Therefore, when Magritte painted rocks – which are commonly understood to be heavy, inanimate objects – he often painted them floating cloud-like in the sky, or painted scenes of people and their environment turned to stone.[34]
Among Magritte's works are a number of surrealist versions of other famous paintings, such as Perspective I and Perspective II, which are copies of
Magritte's style of surrealism is more representational than the "automatic" style of artists such as Joan Miró. Magritte's use of ordinary objects in unfamiliar spaces is joined to his desire to create poetic imagery. He described the act of painting as "the art of putting colors side by side in such a way that their real aspect is effaced, so that familiar objects—the sky, people, trees, mountains, furniture, the stars, solid structures, graffiti—become united in a single poetically disciplined image. The poetry of this image dispenses with any symbolic significance, old or new."[40]
René Magritte described his paintings as "visible images which conceal nothing; they evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question, 'What does that mean?'. It does not mean anything, because mystery means nothing either, it is unknowable."[41]
Magritte's constant play with reality and illusion has been attributed to the early death of his mother. Psychoanalysts who have examined bereaved children have hypothesized that Magritte's back and forth play with reality and illusion reflects his "constant shifting back and forth from what he wishes—'mother is alive'—to what he knows—'mother is dead'."[42]
More recently, Patricia Allmer has demonstrated the influence of fairground attractions on Magritte's art – from carousels and circuses to panoramas and stage magic.[43]
Artists influenced by Magritte
Contemporary artists have been greatly influenced by René Magritte's stimulating examination of the fickleness of images. Some artists who have been influenced by Magritte's works include
Magritte's use of simple graphic and everyday imagery has been compared to that of the
Legacy
The 1960s brought a great increase in public awareness of Magritte's work.
The logo of
According to the 1998 documentary The Fear of God: 25 Years of "The Exorcist", the iconic poster shot for the film
In the 1992 movie Toys, Magritte's work was influential in the entire movie but specifically in a break-in scene, featuring Robin Williams and Joan Cusack in a music video hoax. Many of Magritte's works were used directly in that scene. In the 1999 movie The Thomas Crown Affair starring Pierce Brosnan, Rene Russo and Denis Leary, the Magritte painting The Son of Man was prominently featured as part of the plot line.
In John Green's fictional novel (2012) and movie (2014), The Fault in Our Stars, the main character Hazel Grace Lancaster wears a tee shirt with Magritte's, The Treachery of Images, (This is not a pipe.) Just prior to leaving her mother to visit her favorite author, Hazel explains the drawing to her confused mother and states that the author's novel has "several Magritte references", clearly hoping the author will be pleased with the reference.
The official music video of Markus Schulz's "Koolhaus" under his Dakota guise was inspired from Magritte's works.[52]
A street in Brussels has been named Ceci n'est pas une rue (This is not a street).[53]
Magritte Museum and other collections
The Magritte Museum opened to the public on 30 May 2009 in
Another museum is located at 135 Rue Esseghem in Brussels in Magritte's former home, where he lived with his wife from 1930 to 1954. Olympia (1948), a nude portrait of Magritte's wife reportedly worth about US$1.1 million, was stolen from this museum on the morning of 24 September 2009 by two armed men.[58][59][60] It was returned to the museum in January 2012, in exchange for a 50,000-Euro payment from the museum's insurer. The thieves reportedly agreed to the deal because they were unable to sell the painting on the black market due to its fame.[61]
The Menil Collection in Houston, Texas holds one of the most significant collections of dada and surrealist work in the United States, including dozens of oil paintings, gouaches, drawings, and bronzes by René Magritte. John de Menil and Dominique de Menil initiated and funded the catalogue raisonné of Magritte's oeuvre, published between 1992 and 1997 in five volumes, with an addendum in 2012. Major oil paintings in the Menil Collection include: The Meaning of Night (1927), The Eternally Obvious (1930), The Rape (1934), The Listening Room (1952), and Golconda (1953) which are typically exhibited a few at a time on a rotating basis with other surrealist works in the collection.[62]
Selected list of works
- 1920 Landscape
- 1922 The Station and L'Écuyère
- 1923 Self-portrait, Sixth Nocturne, Georgette at the Piano and Donna
- 1925 The Bather and The Window
- 1926 The Lost Jockey, The Mind of the Traveler, Sensational News, The Difficult Crossing, The Vestal's Agony, The Midnight Marriage, The Musings of a Solitary Walker, After the Water my Butts, Popular Panorama, Landscape and The Encounter
- 1927 The Enchanted Pose
- 1927 Young Girl Eating a Bird, The Oasis (started in 1925), Le Double Secret, The Meaning of Night, Let Out of School, The Man from the Sea, The Tiredness of Life, The Light-breaker, A Passion for Light, The Menaced Assassin, Reckless Sleeper, La Voleuse, The Fast Hope, L'Atlantide and The Muscles of the Sky
- 1928 The Lining of Sleep (started in 1927), Intermission (started in 1927), The False Mirror, The Daring Sleeper, The Acrobat's Ideas, The Automaton, The Empty Mask, Reckless Sleeper, The Secret Life and Attempting the Impossible
- 1929 The Treachery of Images (started in 1928), Threatening Weather and On the Threshold of Liberty
- 1930 Pink Belles, Tattered Skies, The Eternally Obvious, The Lifeline, The Annunciation and Celestial Perfections
- 1931 The Voice of the Air, Summer and The Giantess
- 1932 The Universe Unmasked
- 1933 Elective Affinities, The Human Condition and The Unexpected Answer
- 1934 The Rape
- 1935 The Discovery of Fire, The Portrait
- 1936 Surprise Answer, Clairvoyance, The Healer, The Philosopher's Lamp, The Heart Revealed a portrait of Tita Thirifays, Spiritual Exercises, Portrait of Irène Hamoir, La Méditation and Forbidden Literature
- 1937 The Future of Statues, The Black Flag, Not to be Reproduced, Portrait of Edward James and Portrait of Rena Schitz, On the Threshold of Liberty
- 1938 Time Transfixed, The Domain of Arnheim, Steps of Summer and Stimulation Objective
- 1939 Victory, The Palace of Memories
- 1940 The Return, The Wedding Breakfast and Les Grandes Espérances
- 1941 The Break in the Clouds
- 1942 Misses de L'Isle Adam, L'Ile au Tréson, Memory, Black Magic, Les compagnons de la peur and The Misanthropes
- 1943 The Return of the Flame, Universal Gravitation and Monsieur Ingres's Good Days
- 1944 The Good Omens
- 1945 Treasure Island, Les Rencontres Naturelles and Black Magic
- 1946 L'Intelligence and Les Mille et une Nuits
- 1947 La Philosophie dans le boudoir, The Cicerone, The Liberator, The Fair Captive, La Part du Feu and The Red Model
- 1948 Blood Will Tell, Memory, The Mountain Dweller, The Art of Life, The Pebble, The Lost Jockey, God's Solon, Shéhérazade, L'Ellipse and Famine and The Taste of Sorrow
- 1949 Megalomania, Elementary Cosmogony, and Perspective, the Balcony
- 1950 Making an Entrance, The Legend of the Centuries, Towards Pleasure, The Labors of Alexander, The Empire of Light II, The Fair Captive and The Art of Conversation, The Survivor
- 1951 David's Madame Récamier (parodying the Portrait of Madame Récamier), Pandora's Box, The Song of the Violet, The Spring Tide and The Smile
- 1952 Personal Values and Le Sens de la Pudeur and The Explanation
- 1953 Golconda, The Listening Room and a fresco, The Enchanted Domain, for the Knokke Casino, Le chant des sirènes
- 1954 The Invisible World and The Empire of Light
- 1955 Memory of a Journey and The Mysteries of the Horizon
- 1956 The Sixteenth of September; The Ready-made Bouquet
- 1957 The Fountain of Youth; The Enchanted Domain
- 1958 The Golden Legend, Hegel's Holiday, The Banquet and The Familiar World
- 1959 The Castle in the Pyrenees, The Battle of the Argonne, The Anniversary, The Month of the Grape Harvest and La clef de verre (The Glass Key)
- 1960 The Memoirs of a Saint
- 1962 The Great Table, The Healer, Waste of Effort, Mona Lisa (circa 1962) and L'embeillie (circa 1962)
- 1963 The Great Family, The Open Air, The Beautiful Season, Princes of the Autumn, Young Love, La Recherche de la Vérité and The Telescopeand " The Art of Conversation"
- 1964 Le soir qui tombe (Evening Falls), The Great War, The Great War on Facades, The Son of Man and Song of Love
- 1965 Le Blanc-Seing,Carte Blanche, The Thought Which Sees, Ages Ago and The Beautiful Walk (circa 1965), Good Faith
- 1966 The Shades, The Happy Donor, The Gold Ring, The Pleasant Truth, The Two Mysteries, The Pilgrim and The Mysteries of the Horizon
- 1967 Les Grâces Naturelles, La Géante, The Blank Page, Good Connections, The Art of Living, L'Art de Vivre and several bronze sculptures based on Magritte's previous works
See also
- Royal Museum of Fine Arts of Belgium.
- René Magritte Museum, a museum in Jette in Brussels, in the house where Magritte lived and worked for 24 years, between 1930 and 1954.
- List of Belgian painters
- List of paintings by Rene Magritte
References
- Citations
- ^ "René Magritte | MoMA". The Museum of Modern Art. Retrieved 12 December 2022.
- ^ a b c Calvocoressi 1990, p. 26.
- ^ a b c Meuris 1991, p 216.
- ^ a b Abadie 2003, p. 274.
- ^ a b c d Calvocoressi 1990, p. 9.
- ^ a b "National Gallery of Australia | Les Amants [The lovers]". Nga.gov.au. Retrieved 14 October 2010.
- ^ a b "The Guggenheim Museums and Foundation". The Guggenheim Museums and Foundation.
- ^ Gisèle Ollinger-Zinque and Frederik Leen (Ed.), Magritte, 1898-1967, Musées royaux des beaux-arts de Belgique, Ludion Press, 1998, p. 308
- ISSN 0028-7504. Retrieved 22 January 2019.
- ISBN 0-89009-706-2
- ^ "Rene Magritte: 100 Famous Paintings Analysis, Complete Works, & Bio". www.renemagritte.org. Retrieved 5 March 2024.
- ISBN 0714835420.
- ^ "Revolution surrealiste nb 12" (PDF). inventin.lautre.net.
- ^ a b Meuris 1991, p. 217.
- ^ Meuris 1991, p. 221.
- ^ "Professor Bram Hammacher", The Edward James Foundation souvenir guide, edited Peter Sarginson, 1992.
- ^ Meuris 1991, p. 56.
- ^ Meuris 1991, p. 218.
- ^ Lambith, Andrew (28 February 1998). "Ceci n'est pas an artist". The Independent. London. Retrieved 22 May 2010.
- ^ Meuris 1991, p. 61.
- ^ Marler, Regina (October 25, 2018). "Every Time I Look at It I Feel Ill". The New York Review of Books. pp 8–12.
- ^ "René Magritte on the Revolutionary Artist vs. Folk Art & Stalinism". Retrieved 28 June 2014.
- ^ "Musee Magritte Museum". Archived from the original on 3 September 2014. Retrieved 28 June 2014.
- ISBN 9783822805466.
We shall not at this juncture risk analyzing an agnostic Magritte haunted perhaps by thoughts of ultimate destiny. "We behave as if there were no God" (Marien 1947).
- ^ "René Magritte: This is Not A Biography". Matteson Art. Retrieved 22 September 2015.
- ISBN 9788874611522.
- ^ "René Magritte: This is Not A Biography (1939-1940 Marital Difficulties- World War II Approaches)". Matteson Art. Retrieved 22 September 2015.
- ISBN 9780307908193.
- ^ Glueck, Grace, "A Bottle Is a Bottle"; The New York Times, 19 December 1965.
- ^ "René Magritte le maître surréaliste | PM". PM (in French). 18 November 2016. Archived from the original on 11 July 2018. Retrieved 18 November 2016.
- ^ "René Magritte the Surrealist Master | Surreal Artists". Surreal Artists. 24 May 2017. Archived from the original on 4 October 2017. Retrieved 27 May 2017.
- ^ Spitz 1994, p.47
- ^ Gablik 1970, p. 98.
- ^ Gablik 1970, pp. 98–99.
- ^ "Proud Coffin: René Magritte's Perspective: Madame Récamier by David". National Gallery of Canada. Retrieved 20 April 2021.
- ^ "René Magritte: Perspective II, Manet's Balcony". Museum of Fine Arts, Ghent. Retrieved 20 April 2021.
- ^ Meuris 1991, p. 195.
- ^ Sylvester 1992, p.298
- ^ Spitz 1994, p.50
- ^ Frasnay, Daniel. The Artist's World. New York: The Viking Press, 1969. pp. 99-107
- ^ "Flanders - New Magritte Museum Brussels". visitflanders.us. Retrieved 29 March 2009.
- ^ Collins, Bradley I. Jr. "Psychoanalysis and Art History". Art Journal, Vol. 49, No. 2, College Art Association, pp. 182-186.
- ^ Allmer, Patricia (2019). René Magritte. London: Reakton Press.
- ^ Amra Brooks (27 December 2006). "Los Angeles: Magritte by Baldessari, Road Trips and Rock 'n' Roll". ARTINFO. Retrieved 24 April 2008.
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(help) - ^ a b Meuris 1991, p. 202.
- ^ Stephanie Brown (2006). "Magritte and Contemporary Art: The Treachery of Images". Los Angeles county Museum of Art and Ludion.
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(help) - ^ Meuris 1991, pp. 199–201.
- ^ "The Miseducation of Jesse Jagz – "Jagz Nation Vol 2: The Royal Niger Company"". Fuse.com.ng. 21 March 2014. Retrieved 14 April 2014.
- ^ Levy 1997, p. 105.
- ^ Bertolucci, Gérard, & Kline 2000, p. 53.
- ^ Fragola & Smith 1995, p. 103.
- ^ "Dakota - Koolhaus (Official Music Video)". Armada Music. 6 September 2010. Archived from the original on 31 October 2021. Retrieved 19 March 2018.
- ^ The Economist 12 January 2019 p.31.
- ^ "Home – Magritte Museum". www.musee-magritte-museum.be.
- ^ "Two New Museums for Tintin and Magritte". Time. 30 May 2009. Archived from the original on 11 June 2009. Retrieved 30 May 2009.
- ^ Victor Zak October 2009 page 20 Westways Magazine
- ^ a b Oisteanu, Valery (8 July 2010). "Magritte, Painter-Philosopher". The Brooklyn Rail (July–August 2010).
- ^ Chrisafis, Angelique (24 September 2009). "Magritte painting stolen at gunpoint". The Guardian. Retrieved 27 November 2019.
- ^ NY Times. Retrieved 24 September 2009.
- ^ demorgen.be retrieved 5 January 2012
- ^ "Did Paying a Ransom for a Stolen Magritte Painting Inadvertently Fund Terrorism?". Vanity Fair. 27 May 2021. Retrieved 7 June 2021.
- ^ The Menil Collection: Surrealism (accessed December 17, 2020)
- Bibliography
- Abadie, Daniel and Galerie nationale du jeu de paume (2003). Magritte. New York: Distributed Art Publishers. ISBN 9781891024665.
- Alden, Todd (1999). The Essential Magritte. Two Editions. ISBN 0-7607-8567-8.
- Allmer, Patricia (2019). René Magritte. London: Reaktion Press.
- Allmer, Patricia (2017) This Is Magritte London: Laurence King. ISBN 9781780678504
- Allmer, Patricia (2009). René Magritte - Beyond Painting. Manchester: Manchester University Press. ISBN 978-0-7190-7928-3.
- Allmer, Patricia (2007). 'Dial M for Magritte' in "Johan Grimonprez - Looking for Alfred", eds. Steven Bode and Thomas Elsaesser, London: Film and Video Umbrella.
- Allmer, Patricia (2007). 'René Magritte and the Postcard' in "Collective Inventions: Surrealism in Belgium Reconsidered", eds. Patricia Allmer and Hilde van Gelder, Leuven: Leuven University Press.
- Allmer, Patricia (2007). 'Failing to Create - Magritte, Artistry, Art History' in From Self to Shelf: The Artist Under Construction, ed. William May, Cambridge: Cambridge Scholars Publishing.
- Allmer, Patricia (2006). 'Framing the Real: Frames and the Process of Framing in René Magritte's Œuvre', in Framing Borders in Literature and Other Media, eds. Walter Bernhart and Werner Wolf, Amsterdam: Rodopi.
- ISBN 1-57806-205-5.)
{{cite book}}
: CS1 maint: location missing publisher (link - Calvocoressi, Richard (1990). Magritte. New York: Watson-Guptill. ISBN 0-8230-2962-X.
- Danchev, Alex (2021). Magritte: A Life. New York: Pantheon. ISBN 978-0-307-90819-3.
- Fragola, Anthony; Smith, Roch C. (1995). The Erotic Dream Machine: Interviews with Alain Robbe-Grillet on His Films. SIU Press. ISBN 0-8093-2004-5.
- Gablik, Suzi (1970). Magritte. London: Thames & Hudson. ISBN 978-0-500-49003-7.
- Harris, James C. (1 August 2007). "The Murderer Threatened (L'assassin Menacé)". Archives of General Psychiatry. 64 (8): 882–883. PMID 17679631.
- Kaplan, Gilbert E. & Baum, Timothy (1982). The Graphic Work of René Magritte. Two Editions. ISBN 0-686-39199-3.
- ISBN 1-85331-193-6.
- Levy, Silvano (2015). Decoding Magritte. Bristol: Sansom & Co. ISBN 9781906593957.
- Levy, Silvano (1996). 'René Magritte: Representational Iconoclasm', in Surrealist Visuality, ed. S. Levy, Keele University Press. ISBN 1-85331-170-7.
- Levy, Silvano (2012). 'Magritte et le refus de l'authentique', Cycnos, Vol. 28, No. 1 (July 2012), pp. 53–62. ISBN 978-2-296-96098-5.
- Levy, Silvano (2005). 'Magritte at the Edge of Codes', Image & Narrative, No. 13 (November 2005), Magritte at the Edge of Codes by Silvano Levy ISSN 1780-678X.
- Levy, Silvano (1993). 'Magritte, Mesens and Dada', Aura, No. 1, 11 pp. 31 41. ISSN 0968-1736.
- Levy, Silvano (1993). 'Magritte: The Uncanny and the Image', French Studies Bulletin, No. 46, 3 pp. 15 17. ISSN 0262-2750.
- Levy, Silvano (1992). 'Magritte and Words', Journal of European Studies, Vol. 22, Part 4, No. 88, 19 pp. 313 321. ISSN 0047-2441.
- Levy, Silvano (1992). 'Magritte and the Surrealist Image', Apollo, Vol. CXXXVI, No. 366, 3 pp 117 119. ISSN 0003-6536.
- Levy, Silvano (1990). 'Foucault on Magritte on Resemblance', Modern Language Review, Vol. 85, No.1, 7 pp. 50 56. ISSN 0026-7937.
- Levy, Silvano (1981). 'René Magritte and Window Display', Artscribe International, No. 28, 5 pp. 24 28. ISSN 0309-2151.
- Levy, Silvano (1992). 'This is a Magritte', The Times Higher Education Supplement, No. 1,028, 17 July 1992, 1 p. 18. ISSN 0049-3929.
- Meuris, Jacques (1991). René Magritte. Cologne: Benedikt ISBN 3-8228-0546-7.
- Roisin, Jacques (1998). Ceci n'est pas une biographie de Magritte. Bruxelles: Alice Editions. ISBN 2-930182-05-9.
- ISBN 0-300-06029-7.
- ISBN 0-500-09227-3.
- ISBN 0-8212-2137-X.
External links
- Foundation Magritte
- The biography and works of René Magritte Archived 9 January 2015 at the Wayback Machine
- René Magritte Museum in Brussels
- René Magritte at the Museum of Modern Art
- Magritte at Artcyclopedia
- René Magritte: The Pleasure Principle – Exhibition at Tate Liverpool, UK 2011
- Musée Magritte Museum at Brussels
- A visit to the Musée Magritte Museum
- Patricia Allmer, "La Reproduction Interdite: René Magritte and Forgery" in Papers of Surrealism, Issue 5, Spring 2007.
- Cinema Leuven - Film posters designed by Emair/René Magritte