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© Ben Heine || Facebook || Twitter || www.benheine.com
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This is a watercolor painting on paper I made in 2008.
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For more information about my art: info@benheine.com
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Life
Magritte was born in Lessines, in the province of Hainaut, in 1898, the eldest son of Léopold Magritte, a tailor, and Adeline, a milliner. He began drawing lessons in 1910. In 1912, his mother committed suicide by drowning herself in the River Sambre. Magritte was present when her body was retrieved from the water. The image of his mother floating, her dress obscuring her face, may have influenced a 1927-1928 series of paintings of people with cloth obscuring their faces, including Les Amants, but Magritte disliked this explanation. He studied at the Académie Royale des Beaux-Arts in Brussels for two years until 1918. In 1922 he married Georgette Berger, whom he had met in 1913.
Magritte worked in a wallpaper factory, and was a poster and advertisement designer until 1926 when a contract with Galerie la 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 exhibition in Brussels in 1927. Critics heaped abuse on the exhibition. Depressed by the failure, he moved to Paris where he became friends with André Breton, and became involved in the surrealist group.
When Galerie la Centaure closed and the contract income ended, he returned to Brussels and worked in advertising. Then, with his brother, he formed an agency, which earned him a living wage.
During the German occupation of Belgium in World War II he remained in Brussels, which led to a break with Breton. At the time he renounced the violence and pessimism of his earlier work, though he returned to the themes later.
His work showed in the United States in New York in 1936 and again in that city in two retrospective exhibitions, one at the Museum of Modern Art in 1965, and the other at the Metropolitan Museum of Art in 1992. Magritte died of pancreatic cancer on August 15, 1967 and was interred in Schaarbeek Cemetery, Brussels.
Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist, and conceptual art. In 2005 he came ninth in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.
Philosophical and artistic gestures
A consummate technician, his work frequently displays a juxtaposition of ordinary objects in an unusual context, giving new meanings to familiar things. The representational use of objects as other than what they seem is typified in his painting, The Treachery of Images (La trahison des images), which shows a pipe that looks as though it is a model for a tobacco store advertisement. Magritte painted below the pipe, This is not a pipe (Ceci n'est pas une pipe), which seems a contradiction, but is actually true: the painting is not a pipe, it is an image of a pipe. (In his book, This Is Not a Pipe, French philosopher and critic Michel Foucault discusses the painting and its paradox.)
Magritte pulled the same stunt in a painting of an apple: he painted the fruit realistically and then used an internal caption or framing device to deny that the item was an apple. In these Ceci n'est pas works, Magritte points out that no matter how closely, through realism-art, we come to depicting an item accurately, we never do catch the item itself: we cannot smoke tobacco with a picture of a pipe.
His art shows a more representational style of surrealism compared to the "automatic" style seen in works by artists like Joan Miró. In addition to fantastic elements, his work is often witty and amusing. He also created a number of surrealist versions of other famous paintings.
René Magritte described his paintings by saying,
My painting is 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.
In popular culture
The 1960s brought a great increase in public awareness of Magritte's work. One of the means by which his imagery became familiar to a wider public was through reproduction on rock album covers; early examples include the 1969 album Beck-Ola by the Jeff Beck group (reproducing Magritte's The Listening Room), and Jackson Browne's 1974 album, Late for the Sky, with artwork inspired by Magritte's L'Empire des Lumieres. Alan Hull of UK folk-rock band Lindisfarne used Magritte's paintings on two solo albums in 1973 and 1979. Styx adapted Magritte's Carte Blanche for the cover of their 1977 album The Grand Illusion, while the cover of Gary Numan's 1979 album The Pleasure Principle, like John Foxx's 2001 The Pleasures of Electricity, was based on Magritte's painting Le Principe du Plaisir.
Jethro Tull mention Magritte in a 1976 lyric, and Paul Simon's song "Rene And Georgette Margritte With Their Dog After The War" appears on the 1983 album Hearts and Bones. Paul McCartney, a life-long fan of Magritte, owns many of his paintings, and claims that a Magritte painting inspired him to use the name Apple for the Beatles' media corporation. Magritte is also the subject and title of a John Cale song on the 2003 album HoboSapiens.
Numerous films have included imagery inspired by Magritte. The Son of Man, in which a man's face is obscured by an apple, is referenced in the 1992 film Toys, the 1999 film The Thomas Crown Affair and in the 2004 short film Ryan. In the 2004 film I Heart Huckabees, Magritte is alluded to by Bernard Jaffe (Dustin Hoffman) as he holds a bowler hat.
According to Ellen Burstyn, in the 1998 documentary The Fear of God: 25 Years of "The Exorcist", the iconic poster shot for the film The Exorcist was inspired by Magritte's L'Empire des Lumieres.
In Spain, an award-winning children´s TV show, "El Planeta Imaginario" (The Imaginary Planet) (1983-1986), dedicated two episodes to René Magritte: "M, el extraño viajero" (M, the strange traveller) and "La Quimera" (The Chimera).
Magritte's painting The Treachery of Images is referred to in The Forbidden Game: The Chase, a book by L. J. Smith, in which the difference between image and reality becomes key to solving the entire conflict. The same painting (and its caption, "This is not a pipe") inspired a graphic in the video game Rayman Raving Rabbids. The online game Kingdom of Loathing refers to this painting, as well as to The Son of Man.
See also
•Foundation Magritte : www.magritte.be/
•René Magritte Museum : www.magrittemuseum.be/
•René Magritte at Gallery of Art : www.galleryofart.us/Rene_Magritte/
•Magritte at Artcyclopedia : www.artcyclopedia.com/artists/magritte_rene.html
•Patricia Allmer, 'La Reproduction Interdite: www.surrealismcentre.ac.uk/publications/papers/journal5/i...
•René Magritte Paintings at Picasa : picasaweb.google.com/arte4fun/ReneMagritte
That's the first thing I thought of when I saw this scene on the street in NYC.
"René and Georgette Magritte
With their dog after the war
Were strolling down Christopher Street
When they stopped in a men's store
With all of the mannequins dressed in the style
That brought tears to their immigrant eyes
Just like The Penguins, the Moonglows
The Orioles, and The Five Satins
The easy stream of laughter
Flowing through the air
René and Georgette Magritte
With their dog après la guerre"
- Paul Simon
René François Ghislain Magritte 21 November 1898 – 15 August 1967) was a Belgian surrealist artist. He became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. His imagery has influenced pop, minimalist and conceptual art.
Magritte married Georgette Berger in June 1922. Georgette was the daughter of a butcher in Charleroi, and had first met Magritte when she was only 13 and he was 15. They met again in Brussels in 1920 and Georgette subsequently became Magritte's model and muse. In 1936 Magritte's marriage got into trouble when he met a young artist, Sheila Legge, and began an affair. Magritte arranged for his friend, Paul Colinet, to entertain and distract Georgette, but this led to an affair between his wife and Colinet. Magritte and his wife did not reconcile until 1940.
Magritte died of pancreatic cancer on 15 August 1967, aged 68, and was interred in Schaerbeek Cemetery, Evere, Brussels.
Artwork by TudioJepegii
René Lalique. . .
René Jules Lalique was a French glass designer known for his creations of glass art, perfume bottles, vases, jewelry, chandeliers, clocks and automobile hood ornaments. He started a glassware firm, named after him, which still remains successful.
I was very pleased to find that some selective processing I devised in Photoshop could produce a passible imitation of René Lalique's style (or at least I like to think so). This started out as two basic images, combined and re combined with some added filters.
French postcard. Photo G.L. Manuel Frères. Editions Sid., Paris, No. 8038.
Renée Falconetti (1892-1946), aka Maria Falconetti and simply Falconetti, was a French actress. Though she had a long stage career, and played in two other silent films, she is mostly known for her major performance in Carl Dreyer’s silent film La passion de Jeanne d’Arc (1928).
Little (1.63 m.) Falconetti was born Renée Jeanne Falconetti on 21 July 1892, in Pantin, Seine-Saint-Denis, in France. Some sources claim she was born in Corsica but she only had a Corsican father, Pierre Falconetti, who worked in the department store Au Bon Marché. At a young age her parents divorced. Falconetti was first raised by her maternal grandparents and then brought to a religious home, after which the mother took her and her brother with her again. Renée’s theatrical aspirations were not appreciated by her family, so she started working for an international company which sent her to Hamburg and Liverpool. In the UK she met the Jewish millionaire Henri Goldstück whose lover she became. Against her family’s wishes, Goldstück enabled her to take acting lessons with Maurice de Feraudy and in 1912 to start the Paris Conservatoire d’art dramatique , where she took lessons from Sylvain – who would later be her antagonist in Dreyer’s film. In 1915 she professionally debuted on the Parisian stage with Tschechov’s play The Marriage Proposal at the Théatre de l'Odéon, where she would remain employed for three years. Her breakthrough as actress followed with her part of Hélène in Saint-Georges de Bouhélier’s Le Carnaval des enfants, after which the lead as the blind girl in the melodrama Les deux orphelines (1917) followed, as well as many comedies. In 1917 Falconetti also acted on screen for the first time, in the short Le clown, directed by her former mentor Maurice de Féraudy, who also played the lead. In 1917 Falconetti also acted in Georges Denola’s and Jean Kemm’s film La comtesse de Somerive.
At the end of the war Falconetti had her own house on the Champs-Élysées. She started theatrical tours around international casinos and played in renowned Parisian theatres. Successes were alternated with flops. She got great critical acclaim for her part in Le feu qui reprend mal (1921), for which her tragedic capacities were compared to those of theatre stars like Réjane or Eleonora Duse. Falconetti earned 500 to 800 Franc per performance then, and was able to select her own parts. Moreover, she modeled for Parisian ‘haute couture’. In 1923 Falconetti played opposite Harry Baur and Charles Boyer in her first cross-dressing part as Charly. After two more successes (La Fille perdue, 1923; Le Bien-Aimé, 1924) she was accepted in 1924 by the Comédie-Française. Falconetti hoped thus to obtain tragic parts like those of her idol Sarah Bernhardt, but she couldn’t keep up with the fierce competition and hierarchy and became nerve wrecked, missing probes. She recovered in the countryside in Chatou and came back to the Comédie-Française with her debut there in Beaumarchais’ Le Barbier de Séville (1924), but the play was not a critical success. In 1925 she left the Comédie-Française and focused on boulevard comedy instead, again in Charly, now at the Théâtre de l'Étoile, as well as in Claude Roger-Marx’s Simili, again opposite Charles Boyer. After that followed the theatrical adaptation of Victor Margueritte’ successful novel La Garçonne, which had the Danish film director Carl Theodor Dreyer discover her. Dreyer was then in Paris because of his successful silent comedy Thou shall honor thy wife (1925). He was invited by the Société Générale company to make a film about a historical female person. He choose Joan of Arc and was offered a budget of sven million francs to shoot the film. Dreyer selected Falconetti then. More than one and a half year passed before shooting started. Dreyer used both the novel by Joseph Delteil and the original documents of the trial for his script, written with historian Pierre Champion, while he had Hermann Warm and Jean Hugo build a complex, faithful set of walls, towers, houses, a drawbridge and a church. Dring shooting, however, he focused on close ups of Falconetti’s face, often taken from below, as well as on sophisticated camera movements. Critics accused the filmmaker then of having turned his film into still photography. All the actors, including Falconetti, didn’t wear makeup during shooting. Falconetti completely identified with the part and had her head shaved for the final scene of the execution. Dreyer reputedly had his actress really suffering, up to the point of exhaustion, in order to obtain true emotions in front of the camera. Commercially La passion de Jeane d’Arc was a flop, but critics loved it and today it is regarded as one of the highlights of silent cinema because of Falconetti’s performance and the artistic cinematography.
Parallel to the shooting Falconetti was very successful in 1927 with an adaptation of Alfred de Musset und George Sand’s drama Lorenzaccio at the theater of Monte Carlo, later one continued at the Théâtre de la Madeleine. Directed by René Blum, Falconetti played the male lead, just like Sarah Bernhardt had done at its premiere in 1896. When Goldstück died in car accident in 1928, he left money only to Falconetti’s daughter, not to his lover. Falconetti’s mother Lucie Lacoste managed the money, despite Falconetti’s attempts to fight the will. She stayed away from the screenings of Dreyer’s film, where she was presented as Maria Falconetti. The premiere of the film received protest from the Catholic church. Falconetti lacked the funds to start her own theatre, her long cherished wish but refused by Goldstück. After hiring the Théâtre Femina twice to stage two plays there in 1928-1929, she managed to obtain her own theatre in 1929, the Théâtre de l'Avenue , but the theatre was a flop and it ruined her financially. She sold her house in Paris and her estate near Compiègne and moved to Switzerland, only rarely returning to perform in Paris in her former theatrical successes Lorenzaccio and La Dame aux camélias and in a theatrical performance around Jeanne d’Arc (1934), staged by Saint-Georges de Bouhélier. Her last performances were in the Parisian revue Le bœuf sur le toit and in Louis Jouvet’s staging of Jean Giraudoux La guerre de Troie n’aura pas lieu, both in 1935. For the latter play, in which Falconetti played Andromache, she obtained the fabulous sum of 10.000 francs per show. Afterwards she retired to Switzerland again, lived for a year in Rome in 1937 but her extraordinary style of living raised her debts up to 400.000 Swiss francs in 1940. When the Germans invaded Paris, she tried to emigrate to South America with her son, but had to wait until 1942 to obtain a valid visa. After having spent all of her savings in Rio, she moved to Argentina, where she survived by singing, acting and teaching, supported by the local French. Rumor is that by then Falconetti was heavily overweight and undertook a crash diet, but eventually this killed her and she died in Buenos Aires on 12 December 1946. Her body was taken to France and buried at the Cimetière de Montmartre. Renée Falconetti herself had become mother of Hélène Falconetti, who was mainly raised by her grandmother Lucie Lacoste. In 1931 Falconetti had a son who was raised with her in Switzerland and travelled with her to South-America. Falconetti went to court to have the father recognizing his son and paying for him as well. Falconetti had affirs with various men, a.o. Saint-Georges de Bouhéliers and Charles Boyer. In 1987 her daughter Hélène Falconetti released a double biography on her mother and her own son, the actor Gérard Falconetti (1949–1984).
Sources: English, French and German Wikipedia, IMDB.
El loco es lo más grande del fútbol nacional!
SIEMPRE TE RECORDARé,
GENIO de la quema y de la villa.
INMORTAL.
22/03/2018
French postcard by J.R.P.R., Paris, no. 351. Photo: Studio Lorelle, Paris.
French actress Renée Héribel (1903-1952) knew to launch a short but impressive film career in the second half of the 1920s.
Héribel was born in Caen. After her film debut in Le vert gallant (René Leprince, 1924), Heribel's first big box office hit followed with Madame Sans-Gêne (Léonce Perret, 1925) with Gloria Swanson in the lead role. This was followed by other French productions e.g. the serial Fanfan-la-Tulipe (Leprince, 1925) with Aimé Simon-Girard, L'île enchantée (Henry Roussel, 1925) with Jean Garat, and Minuit, Place Pigalle (Leprince, 1927). Finally, Heribel made the leap abroad and acted in some German films, including Die weisse Sklavin/The White Slave (Augusto Genina, 1927) with Liane Haid and Wladimir Gaidarow, Die Stadt der tausend Freuden/The City of a Thousand Pleasures (Carmine Gallone, 1927) with Paul Richter and Adele Sandrock, and Der Faschingskönig/The Carnival King (1928) by director Georg Jacoby. In the next few years other films in Germany and France followed, including Cagliostro (Richard Oswald, 1929), Narkose (Alfred Abel, Ernst Garden, 1929), the first French sound film Les Trois masques (André Hugon, 1930), Chacun sa chance (Hans Steinhoff, René Pujol, 1931), Les Nuits de Port Saïd (Léo Mittler, 1932), and Le Crime du chemin rouge (Jacques Séverac, 1933). In 1952 Renée Héribel died in Neuilly-sur-Seine at the age of only 49 years.
Sources: IMDB, French Wikipedia, www.cyranos.ch/sbheri-d.htm
Rene Miller Trio
La cave café, Paris
28 Mai 2017
Série Rene Miller Trio
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French postcard in the 'Nos artistes dans leur loge' series, no. 149. Photo: Comoedia, Paris.
René Rocher (1890–1970) was a France stage actor and theater director. In 1923, René Rocher gave its name to the current Comédie-Caumartin. He was managing director of the Théâtre Antoine from 1928 to 1933, then the Théâtre du Vieux-Colombier from 1935 to 1943, and the Théâtre de l'Odéon from 1940 to 1944. In the 1910s he acted in four films, a.o. Le coupable (André Antoine, 1917) and Blessée au coeur (director unknown, 1917).