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"This will be the first show in a museum devoted to the work of Magritte to be held in New York City in over 20 years, a generation," Anne Umland, the organizer of the MoMA exhibition, told reporters.
After starting out as an impressionist and trying his hand at cubism, Magritte (1898-1967) started edging closer to surrealism in 1926 while still living in Brussels.
The following year he moved to Paris and from then on committed completely to the surreal style of painting, creating fantastical landscapes and portraits incorporating bowler hats, apples and pipes.
Josef Helfenstein, director of the Menil Collection, noted that while "Magritte stayed for less than three years in Paris, ... it was the most productive period in his life. He produced over 200 paintings."
The exhibit includes some of his best-known works, such as "La trahison des images (The Treachery of Images), "Les amants," (The Lovers) "Le faux miroir" (The False Mirror) and "L'assasin menacé," (The Menaced Assassin) giving an appreciation of "Magritte's unique genius," Umland said.
"Many of the key strategies that we will see Magritte developing -- framing, doubling, repetition for defamiliarizing the familiar and for making the ordinary and the everyday deeply strange."
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After starting out as an impressionist and trying his hand at cubism, Magritte (1898-1967) started edging closer to surrealism in 1926 while still living in Brussels.
The following year he moved to Paris and from then on committed completely to the surreal style of painting, creating fantastical landscapes and portraits incorporating bowler hats, apples and pipes.
Josef Helfenstein, director of the Menil Collection, noted that while "Magritte stayed for less than three years in Paris, ... it was the most productive period in his life. He produced over 200 paintings."
The exhibit includes some of his best-known works, such as "La trahison des images (The Treachery of Images), "Les amants," (The Lovers) "Le faux miroir" (The False Mirror) and "L'assasin menacé," (The Menaced Assassin) giving an appreciation of "Magritte's unique genius," Umland said.
"Many of the key strategies that we will see Magritte developing -- framing, doubling, repetition for defamiliarizing the familiar and for making the ordinary and the everyday deeply strange."
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