The faithful images, RenГ© Magritte, the cinemaphotography and the photography, Midland Group (Nottingham, England), Louis Scutenaire, A. Clarke, Midland Group, 1978, 0950491160, 9780950491165, . DOWNLOADHERE RenГ© Magritte paintings, drawings, sculpture : May 11-June 30, 1990, RenГ© Magritte, Pace Gallery, 1990, Photography, 58 pages. Magritte, ideas and images , RenГ© Magritte, Harry Torczyner, 1977, Art, 277 pages. RenГ© Magritte , Patrick Waldberg, 1965, Art, 353 pages. RenГ© Magritte, 135 rue Esseghem, Jette-Brussels , Jan Ceuleers, 1999, Art, 125 pages. In 1930 Rene Magritte left Paris -- and the Surrealist scene with which he was identified -- to settle in Jette, a suburb of Brussels, in Magritte's native country of Belgium .... RenГ© Magritte: catalogue raisonnГ©, Volume 5 catalogue raisonnГ©, RenГ© Magritte, David Sylvester, Sarah Whitfield, Michael Raeburn, 1997, Art, 357 pages. This is the fifth and final volume of the critically acclaimed catalogue raisonne of the Belgian surrealist artist Rene Magritte, edited by David Sylvester. This volume is the .... Oil paintings, objects and bronzes, 1949-1967 , RenГ© Magritte, David Sylvester, Sarah Whitfield, Michael Raeburn, 1993, Art, 496 pages. The five volume work presents an authoritative survey of the artist's oeuvre, from 1916 to his death in 1967.. Magritte and photography , Patrick Roegiers, Palais des beaux-arts (Brussels, Belgium), Dec 5, 2005, , 167 pages. "Rene Magritte, the great Surrealist painter, begin experimenting with photography at an early age. While still a young student at the Academy of Fine Arts in Brussels, he .... Magritte The Hayward Gallery , the South Bank Centre, London, 21 May-2 August 1992 ... [et al.], Sarah Whitfield, RenГ© Magritte, Hayward Gallery, 1992, Art, 320 pages. The piece depicts a scene of nearly identical men dressed in dark overcoats and bowler hats, who seem to be drops of heavy rain (or to be floating like helium balloons, though there is no actual indication of motion), against a backdrop of buildings and blue sky. The men are spaced in rhombic grids facing the viewpoint and receding back in grid layers. "Magritte was fascinated by the seductiveness of images. Ordinarily, you see a picture of something and you believe in it, you are seduced by it; you take its honesty for granted. But Magritte knew that representations of things can lie. These images of men aren't men, just pictures of them, so they don't have to follow any rules. This painting is fun, but it also makes us aware of the falsity of representation."[1] One interpretation is that Magritte is demonstrating the line between individuality and group association, and how it is blurred. All of these men are dressed the same, have the same bodily features and are all floating/falling. This leaves us to look at the men as a group. Whereas if we look at each person, we can predict that they may be completely different to another figure. As was often the case with Magritte's works, the title Golconda was found by his poet friend Louis Scutenaire. Golkonda is a ruined city in the state of Andhra Pradesh, India, near Hyderabad, which from the mid-14th century until the end of the 17th was the capital of two successive kingdoms; the fame it acquired through being the center of the region's legendary diamond industry was such that its name remains, according to the Oxford English Dictionary, "a synonym for 'mine of wealth'." Louis Scutenaire is chiefly remembered as a central figure in the Belgian Surrealist movement, along with René Magritte, Paul Nougé, Marcel Lecomte and his own wife Irène Hamoir. He studied law at the Free University of Brussels (now split into the Université Libre de Bruxelles and the Vrije Universiteit Brussel) and was a criminal lawyer from 1931 to 1944. In 1926 he discovered surrealism and was a primary contributor to the Revue surréaliste. He was sympathetic to communism during the 1930s and 1940s but as the truth about Joseph Stalin's regime became more apparent, he grew disenchanted with it and became an anarchist. After the Second World War he became a civil servant in the Belgian Ministry of the Interior, a job he kept for the rest of his life. Scutenaire grew disillusioned with the increasing commercialisation of Surrealism after the Second World War, but this did not apparently impair his close friendship with the most famous Belgian surrealist René Magritte. Scutenaire and his wife would visit the Magritte home on Sundays, where Scutenaire would be invited to give titles to Magritte's recent paintings; 170 of the paintings still bear the titles that Scutenaire suggested. (He is also the model for the figure in Magritte's canvas Universal Gravitation.) Scutenaire's published works include a series of books entitled Mes Inscriptions, collections of gnomic and mischievous aphorisms, as well as one of the earliest and most entertaining monographs on Magritte. He was awarded in 1985 the Grand Prix spécial de l'Humour noir in recognition of his achievements as a writer with a lifelong distrust of authority and institution. Between 1926 and 1938 René Magritte (Belgian, 1898–1967) developed key strategies and techniques to defamiliarize the familiar—to make, in his words, “everyday objects shriek aloud.― During this period of intense innovation he was closely aligned with the Surrealist movement, and his work of these years constituted an important new approach to Surrealist art. This exhibition begins with paintings and collages Magritte created in Brussels in 1926 and 1927, in anticipation of and immediately following his solo exhibition at the Galerie Le Centaure—the exhibition that launched his career as Belgium’s leading, indeed only, Surrealist painter—and then follows him to Paris, where he lived from 1927 to 1930, to be closer to the movement’s center. It concludes in 1938, the year he delivered “La Ligne de vie― (“Lifeline―), an autobiographical lecture that provided an account of his career as a Surrealist. Like the other artists and poets associated with the Surrealist movement, Magritte sought to overthrow what he saw as the oppressive rationalism of bourgeois society. His art during these essential years is at times violent, frequently disturbing, and filled with discontinuities. He consistently interrogated conventions of language and visual representation, using methods that included the misnaming of objects, doubling and repetition, mirroring and concealment, and the depiction of visions seen in half-waking states—all of them devices that cast doubt on the nature of appearances, both in the paintings and in reality itself. The persistent tension Magritte maintained during these years between nature and artifice, truth and fiction, reality and surreality is one of the profound achievements of his art. Magritte’s first solo exhibition, held at the Galerie Le Centaure in Brussels in 1927, included 12 papiers collés, or collages. Such works were made of printed paper along with watercolor, pencil, and charcoal, juxtaposing mass-produced imagery with the handmade. Most of the printed paper is sheet music, cut from the score of a 1907 English operetta, The Girls of Gottenberg, by George Grossmith, Jr., and L. E. Berman. These early collages include what would become the artist’s signature motifs: bowler hats, theater curtains, mysterious landscapes, and bilboquets (a term that refers to a toy but in Magritte's work evokes many other objects). Among them Le Jockey perdu (The Lost Jockey) has a singular status: In September 1926 the poet Camille Goemans, Magritte’s friend (and later his dealer), compared the figure of the mounted jockey “hurtling recklessly into the void― to the artist himself. “I like a lot Le Jockey perdu in the world of bowling pins. [...] The papiers collés go back to outdated processes: music paper cut in the form of pins, fashion plates headless and without hands arranged on abstract surfaces.― – Armand Eggermont, Review of Exposition Magritte, Galerie Le Centaure, 1927, in Le Thyrse, May 8, 1927, p. 214 In 1924 André Breton, a poet and the leader of the Surrealist group, wrote that the movement was based in the “omnipotence of the dream.― This is a realm Magritte explored to deliberately mysterious effect in this dramatically lit scene. A motionless, bowler-hatted figure with closed eyes stands upon a beachlike platform strewn with puffy, oddly earthbound clouds. Behind him is another man, his back to us, apparently identically dressed. The pair appear oblivious to the disturbing and erotically suggestive form, half-human and half-fur, that intrudes at the lower right, a hybrid creature that is reminiscent of the commercial catalog illustrations that Magritte produced in 1926 and 1927 for the Brussels furrier La Maison Samuel. Paintings like L’Assassin menacé and Le Sens de la nuit mark the first appearance in his art of the bowler-hatted man, a figure Magritte would later adopt as a signature motif and alter ego. Painted for his first solo exhibition, in 1927, L’Assassin menacé is one of Magritte’s largest and most theatrical compositions. A prose poem composed the same year by the Belgian Surrealist Paul Nougé, possibly in collaboration with the painter, describes many elements in this sinister scene, among them “an almost naked woman, a corpse of rare perversity.― The vacantly staring figures and everyday objects, all rendered in Magritte’s flat, deadpan style, underscore what the Belgian abstract artist Pierre Flouquet characterized as the painting’s “banal crime.― Like many of the Surrealists, Magritte was an avid fan of the pre–World War I popular crime fiction series Fantômas; he borrowed the placement of the two detective figures flanking the doorframe from Le Mort qui tue (The Murderous Corpse), a film from the series first released in 1913.