Rene Magritte lithographe “Le Domaine d’Arnheim”
Le domaine d’Arnheim, from La peinture et la philosophie de R. Magritte
Lithograph in colors, signatuer “Magritte” stamped with the print. Pencil signed by Georgete Magritte, wife of Rene Magritte and numbered 123/200.
A reissue of the original lithograph from 1967, on Rives BFK, with the artist’s stamped signature, signed by the artist’s wife Georgette Magritte in pencil, numbered 123/200, with full margins. Re-release coincided with the release of a book about Magritte.
In 2008 number 166/200 of this series sold for $2,375 at Christie’s in New York. Sale 1965, Prints & Multiples, 7 -8 February, 2008, New York, Rockefeller Plaza, Lot 156.
Born in 1898, Rene Magritte was an internationally acclaimed surrealist artist of all time, yet it was not until his 50s, when he was finally able to reach some form of fame and recognition for his work. Rene Magritte described his paintings 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, it is unknowable.”
In 1920s, influenced by the writings of psychologist Sigmund Freud, the literary, intellectual, and artistic movement called Surrealism sought a revolution against the constraints of the rational mind; and by extension, they saw the rules of a society as oppressive. Surrealism also embraces a Marxist ideology that demands an orthodox approach to history as a product of the material interaction of collective interests, and many renown Surrealism artists later on became 20th century Counterculture symbols such as Marxist Che Guevara.
After moving to Paris, Rene Magritte became friends with artist Andre Breton, the founder of Surrealism, and became a leading figure in the visual Surrealist movement. In about the same time, influenced by de Chirico’s paintings between 1910 and 1920, Magritte start to paint erotically explicit objects juxtaposed in dreamlike surroundings. His works defined a split between the visual automatism fostered by Joan Miro and a new form of illusionistic Surrealism practiced by the Spaniard Salvador Dali.
Like most of Magritte’s work, this piece requires interpretation. The title comes from one of Edgar Allan Poe’s lesser-known stories. Magritte called it “the realization of a vision” that Poe would have liked.
Magritte mixes landscape painting with the eagle-shaped mountain crest and still life painting with the eagle’s live little eggs. A wall separates us from the landscape: the viewer is an outsider excluded from all participation. Magritte explores the contradiction between the natural (the mountain, the eggs) and the artificial (the wall) that he believes to be “an expression of the affinity between the two”…
Framed size: 31 1/4″ x 37”