雷內．馬格利特的畫作問題

人的命運

http://163.23.208.6/teacher_web/artist/Untitled-14.htm

時間的穿刺 馬格利特 1939

http://163.23.208.6/teacher_web/artist/Untitled-7.htm

這不是一個煙斗 1828-29

http://163.23.208.6/teacher_web/artist/Untitled-2.htm

因為你說一個我貼了3各給你作參考你看看吧！！

Two of Magritte's favored themes were the "window painting" and the "painting within a painting." The Human Condition is one of Magritte's earliest treatments of either subject, and in it he combines the two, making what may be his most subtle and profound statement of their shared meaning.

The Human Condition displays an easel placed inside a room and in front of a window. The easel holds an unframed painting of a landscape that seems in every detail contiguous with the landscape seen outside the window. At first, one automatically assumes that the painting on the easel depicts the portion of the landscape outside the window that it hides from view. After a moment's consideration, however, one realizes that this assumption is based upon a false premise: that is, that the imagery of Magritte's painting is real, while the painting on the easel is a representation of that reality. In fact, there is no difference between them. Both are part of the same painting, the same artistic fabrication. It is perhaps to this repeating cycle, in which the viewer, even against his will, sees the one as real and the other as representation, that Magritte's title makes reference.

Infinite Recess: perspective and play in Magritte's La Condition Humaine:

The paintings of Rene Magritte, with their unsettling of common-sense relationships among objects, images and words, have been compared by many critics to the writings of Ludwig Wittgenstein. The 1933 painting La Condition Humaine, for instance, depicts a painting that exactly covers a `real' landscape outside a window - thus raising questions about the `location' of perception and thought. But Magritte's uncanny use of perspective, and his depictions of spaces that have ambiguous depth, suggest that an equally helpful interpretive framework to that of Wittgenstein may be that of psychoanalysis, particularly the object-relations theory of D.W. Winnicot and the latter's concept of `transitional phenomena'. La Condition Humaine, for example, exemplifies how, by both negating and affirming the opacity of the picture plane, perspective transforms the painting into a transitional object that is both `there' and `not there' simultaneously. Many of the painter's works, his `window' series in particular, suggest approaching Albertian perspective itself as a question of object-relating, the simultaneous search for autonomy and ontological security through play. An understanding of how Magritte's ambiguous spaces suggest both security as well as open-ended possibility can help to link his work not only with the traditions of Renaissance perspective and its modernist critics, but also with the aesthetic of the sublime and its iconography of colossal, indifferent nature. Sublimity may be interpreted psychoanalytically as nostalgia for the scale of childhood experience - for the world viewed as an enormous room in which small objects assume monumental physical and symbolic proportions.

http://www.ingentaconnect.com/content/bpl/ahis/2002/00000025/00000001/art00004;jsessionid=1mf7qmer0ros0.alice

雷內·馬格利特
維基百科，自由的百科全書
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雷內·馬格利特（René Magritte，1898年11月21日－1967年8月15日）是比利時的超現實主義畫家，畫風帶有明顯的符號語言，如《戴黑帽的男人》。他影響了今日許多插畫風格。全名是雷內·弗朗索瓦·吉斯來恩·馬格利特（Rene Francois Ghislain Magritte）。


[編輯] 簡史
馬格利特出生於萊西納(Lessines)，10歲時就開始學畫，父親是裁縫，母親則做女帽的銷售。童年時常常搬家，1912年母親投河（桑布爾河Sambre）自殺，原因不明。馬格利特青年時在布魯塞爾藝術學院就學，畢業後曾在壁紙工廠負責花紋設計。

1919年，他開始對未來主義和奧費立體主義產生興趣，並受到大他十歲的意大利畫家基里訶(Chirico)的影響，開始了超現實主義的風格。1922年他與童年玩伴喬吉特·伯婕(Georgette Berger)結婚。

1927年到1930年間，他移居巴黎，大量的創造出具有神秘語意的迷人畫作，同時也為許多時裝海報或樂譜封面進行商業平面設計，1936年他的作品曾到紐約展出，

晚年的馬格利特定居在比利時布魯塞爾。死後葬在Schaarbeek公墓。


[編輯] 特色

形象的叛逆 The Betrayal of Images馬格利特最為代表性的超現實主義畫作為一幅寫有「你看到的不是煙斗」的煙斗畫作。創作於1929年，名為《形象的叛逆 The Betrayal of Images》。此畫經常被用來解釋超現實主義的觀點，並用於書籍和教學上。此外後世的學者認為馬格利特母親的投水自殺對他心理有很大的影響。此點可由他許多關於破碎的女體畫作看出。


[編輯