Magritte's extraordinary late paintings
Published with San Francisco Museum of Modern Art.
When René Magritte reached his 40s, something unexpected happened. The painter, who had honed an iconic Surrealist style between 1926 and 1938, suddenly started making paintings that looked almost nothing like his earlier work. First he adopted an Impressionist aesthetic, borrowing the sweet, hazy palette of Pierre-Auguste Renoir―which he described as "sunlit Surrealism." Then his style shifted again, incorporating popular imagery, the brash colors of Fauvism and the gestural brushwork of Expressionism. And then Magritte returned to his classic style as if nothing had happened.René Magritte: The Fifth Season looks at the art Magritte made during and after the stylistic crises of the 1940s, revealing his shifting attitudes toward painting. Subjects explored in this volume include the artist's Renoir period; the période vache, with its Fauvist- and Expressionist-style paintings that are little known to American audiences; the "hypertrophy of objects" paintings, a series that plays with the scale of familiar objects; and the enigmatic Dominion of Light suite, paintings that suggest the simultaneous experience of day and night.Featuring full-color plates of approximately 50 oil paintings, and a dozen of the artist's gouaches, René Magritte: The Fifth Season offers a new understanding of Magritte's special position in the history of 20th-century art.In a career of almost half a century, Belgian Surrealist René Magritte (1898–1967) probed the distance between object, language and image. Even as he playfully explored new styles, his painting practice remained consistent in its cautionary message not to equate the observable world with reality in all its fullness.
The pleasures of humor, of mystery, of layers of semblance and concealment still operate in these works. (Regina Marler The New York Review of Books)
Magritte still has the power to surprise. (Sophie Haigney The Economist)
A revelatory exhibition. (Caroline Goldstein Artnet)
Magritte’s power rests in his unpretentiousness. Instead of saying “I see things that you don’t,” he says, “You’ve probably seen this, too, but maybe you haven’t noticed that you’ve seen it. (Peter Plagens Wall Street Journal)
[The paintings] reawaken age-old questions about what the senses apprehend, what awareness and reflection contribute, and how we know. (Kenneth Baker Art Newspaper)
Instead of seeing an old, familiar friend, whose best-known motifs (pipes that aren’t pipes, bowler hats and so on) have leaked into every aspect of popular culture, we are confronted with a man who seems to be undergoing a breakdown. (Sebastian Smee Washington Post)
A once-in-a-lifetime event. (Jonathan Curiel SF Weekly)
... a grand success on its own terms: a well chosen, carefully researched, beautifully designed reconsideration of an artist we thought we knew. (Charles Desmarais SF Chronicle)
Magritte balanced irony and conviction, philosophy and fantasy to illuminate the gaps between what is seen and what is known. The selected works on display reveal Magritte as an artist acutely attuned to the paradoxes at work within reality and an enduring champion of the role of mystery in life and art. (Artinfo)
