Cinemagritte: René Magritte within the Frame of Film History, Theory, and Practice investigates the dynamic relationship between the Surrealist modernist artist René Magritte (1898–1967) and the ...cinema—a topic largely ignored in the annals of film and art criticism. Magritte once said that he used cinema as "a trampoline for the imagination, " but here author Lucy Fischer reverses that process by using Magritte's work as a stimulus for an imaginative examination of film.While Fischer considers direct influences of film on Magritte and Magritte on film, she concentrates primarily on "resonances" of Magritte's work in international cinema—both fiction and documentary, mainstream and experimental. These resonances exist for several reasons. First, Magritte was a lover of cinema and created works as homages to the medium, such as Blue Cinema (1925), which immortalized his childhood movie theater. Second, Magritte's style, though dependent on bizarre juxtapositions, was characterized by surface realism—which ties it to the nature of the photographic and cinematic image. Third, Magritte shares with film a focus on certain significant concepts: the frame, voyeurism, illusionism, the relation between word and image, the face, montage, variable scale, and flexible point of view. Additionally, the volume explores art documentaries concerning Magritte as well as the artist's whimsical amateur "home movies, " made with his wife, Georgette, friends, and Belgian Surrealist associates. The monograph is richly illustrated with images of Magritte's oeuvre as well as film stills from such diverse works as The Eternal Sunshine of the Spotless Mind, Eyes Without a Face, American Splendor, The Blood of a Poet, Zorns Lemma, The Island of Dr. Moreau, The Draughtsman's Contract, and many more. Cinemagritte brings a novel and creative approach to the work of Magritte and both film and art criticism. Students, scholars, and fans of art history and film will enjoy this thoughtful marriage of the two.
Ce volume constitue les Actes d'un colloque international qui a eu lieu aux Facultés universitaires Saint-Louis à Bruxelles, les 22 et 23 mai 1998, en l'honneur du centenaire de la naissance de René ...Magritte. À cette occasion, différentes théories sémiotiques ont été confrontées, celles qui se présentent explicitement comme telles (la sémiotique peircienne, la sémiotique cognitive) et d'autres qui, sans porter le nom de « sémiotique », partagent le même objectif, celui de comprendre comment fonctionne la signification (la rhétorique, et certaines études littéraires qui mettent l'accent sur le rapprochement entre la peinture et l'expression poétique). Une rencontre a été également établie entre les analyses sémiotiques et l'histoire de l'art. L'œuvre de Magritte se prête particulièrement bien à une étude sémiotique, car Magritte est un penseur par images. Il présente sa peinture comme une « trace visible de la pensée ». Il a réfléchi, en images, à des questions d'ordre sémiotique, comme celles de la ressemblance et de la similitude, du visible caché, de la représentation, du rapport entre les mots, les images et les choses... On pourrait dire que l'œuvre de Magritte est en elle-même une sémiotique, c'est-à-dire une réflexion sur le fonctionnement de la signification. On pouvait donc attendre du rapprochement entre Magritte et la sémiotique un éclairage réciproque : l'œuvre de Magritte a permis aux sémioticiens d'aiguiser leurs concepts, et les analyses sémiotiques apportent une nouvelle compréhension de l'œuvre. Magritte a toujours énergiquement protesté contre toute interprétation symbolique de ses tableaux. Il recherche, dit-il, « l'image qui résiste à toute explication et qui résiste en même temps à l'indifférence ». Ses tableaux ne veulent être que l'évocation du mystère. Au terme du colloque, nous pouvons dire que nous n'avons pas du tout élucidé, par la sémiotique, le Mystère de Magritte ; nous avons, au contraire, suivi de multiples pistes pour y entrer plus profondément !
This paper was never designed to be read but ideally to be heard and seen: in this silent format the words can be looked at alongside the images that are meant to do much more than passively ‘serve’ ...as illustration. The paper is a consideration of the relationship between the ear and the eye and an exploration of Amos 8.1–3 as audio-vision. The passage, which is usually read as a ‘wordplay vision’ (a term that is oxymoronically revealing in itself), can also be imagined as a still life with fruit with the caption ‘women wailing, corpses lying everywhere’. By comparing Yhwh's bizarre vision-works with similar (in fact, obligingly similar) artworks by René Magritte, I explore the vision as a way into both the convulsive poetics of Amos (the book set over the earthquake) and, on an even larger scale, the whole poetics of prophetic/divine speech.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, OILJ, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
AUTHENTICATION OF A PAINTING BY RENE MAGRITTE Sandu, Ion; Tanasa, Ovidiu; Negru, Ioan Cristinel ...
International journal of conservation science,
12/2022, Letnik:
13
Journal Article
Recenzirano
Odprti dostop
Two main aspects were studied in the paper. The first consisted in establishing the authenticity of a painting made in the manner of the painter René François Ghislain Magritte (1898-1967), by ...determining the nature of the pictorial materials and their state of conservation, highlighting some archaeometic characteristics. The second aspect refers to the validation of the assessment carried out in 2003 by the art historian Amelia Pavel (1915-2003), which is considered by art critics to be superficial in few authentications. The painting "The Hope of the Son's Return" was made by Rene Magritte, in the period between 1960-1962, as Amelia PAVEL also reveals. This corresponds archeometrically and chemometrically, by determining the age of the pictorial materials and the support, as having been executed in 1962. The aesthetico-artistic expertise combined with through multispectral techniques (IR, UV, and VIS Reflectography) and microscopic (Optical Microscopy, Stereomicroscopy, SEM-EDX), highlight the certain attributes of authenticity, the painting being by René Magritte. As for the previous expert's inscription on the back of the painting, graphoscopic and archaeometric analysis revealed that it belongs to Amelia Pavel.
Available for the first time in an English translation, this selection of René Magritte's writings gives non-Francophone readers the chance to encounter the many incarnations of the renowned Belgian ...painter-the artist, the man, the aspiring noirist, the fire-breathing theorist-in his own words. Through whimsical personal letters, biting apologia, appreciations of fellow artists, pugnacious interviews, farcical film scripts, prose poems, manifestos, and much more, a new Magritte emerges: part Surrealist, part literalist, part celebrity, part rascal.While this book is sure to appeal to admirers of Magritte's art and those who are curious about his personal life, there is also much to delight readers interested in the history and theory of art, philosophy and politics, as well as lovers of creativity and the inner workings of a probing, inquisitive mind unrestricted by genre, medium, or fashion.
This essay takes as its subject the letters and postcards written by Belgian painter René Magritte (1898–1967) to his wife, Georgette, between 12 February and 19 March 1937, while the artist stayed ...at the London home of his patron Edward James. This sojourn represented a turning point in Magritte’s biography and artistic career, and the artist was introduced to a new circle of buyers. The friendship that developed between painter and host resulted in many more commissions and acquisitions that would make James’s collection of Magritte’s work the largest prior to the Second World War. The correspondence between Magritte and Georgette, conserved in the special collections of the Getty Research Institute, offers a highly personal glimpse into the relationship between the artist and his wife and provides insights into Magritte’s relationships with the Surrealist Group in England, agent and gallerist E. L. T. Mesens, and patron and collector Edward James.
This essay describes the surreality of Aboriginal housing in Australia, where images reroute remedial concern from the literal conditions toward a pathologization of the indigenous householder. Using ...governmental data against governmental interpretation, the essay shows how a pragmatic issue of substandard original construction, undersupervised repairs, poor to nonexistent maintenance, and rapid shifts in policy attention is hidden to reinsert householders as the main culprits of substandard living conditions in many Aboriginal communities. A dirty literalism that sees the surreal in the everyday is required to unpack the means and the methods through which such maneuvers are made.
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