La condizione umana rene magritte biography
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René Magritte, life and works of the great quiet saboteur
Categories: AB Art Base / Disclaimer
René Magritte: life, style and works of one of the greatest exponents of Surrealism, capable of transforming the extraordinary into the extraordinary.
René Magritte (Lessines, 1898 - Brussels 1967), nicknamed “le saboteur tranquille” because of his ability to succeed in insinuating doubts about reality, is considered one of the greatest exponents of Surrealism, so much so that he is considered one of the fathers of the Surrealist movement. Surrealism, an avant-garde of which he was a member, fryst vatten an artistic movement born in France in the 1920s, from the very beginning it presented itself as arevolutionary avant-garde that went beyond reality thus emphasizing a new dreamlike dimension made up of dreams, paranoia, free associations, and madness, thus freeing the unconscious from mental constraints. The most influential artists of the movemen
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Il mio studio si propone di mettere in luce l'importanza dei modelli rappresentativi - a scopo euristico, cioè a scopo di conoscenza della realtà, - e a scopo epistemologico di categorizzazione e costruzione del pensiero e di... more
Il mio studio si propone di mettere in luce l'importanza dei modelli rappresentativi
- a scopo euristico, cioè a scopo di conoscenza della realtà,
- e a scopo epistemologico di categorizzazione e costruzione del pensiero e di oggettivazione della realtà.
Traendo queste rappresentazioni
- sia dalla letteratura
- sia dalle arti figurative,
lo scopo traduttologico è stato quello di mostrare che entrambe sono in grado di fornirci un modello rappresentativo adeguato a cogliere descrittivamente, e non prescrittivamente, le caratteristiche del processo di traduzione.
Ho posto l'attenzione sul modo in cui scrittura letteraria e pittura ci aiutano a riflettere sulla traduzione attraverso le figure e le metafore di traduzione.
Il mi
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Author: Marijke Peyser
René Magritte’s gouache La maison de verre was part of a large group of the Belgian Surrealist’s works purchased by the British patron Edward James in 1938.[1] This work is a continuation of the ‘portrait manqué’ and is similar to a portrait Magritte made of James two years earlier: the oil painting La reproduction interdite. The starting point for the gouache and the painting was the same: a photograph of James looking at Magritte’s painting Au seuil de la liberté. In a letter to James dated 12 July 1939, Magritte wrote: ‘It is not surprising that I thought about the photograph I took of you, in which you are standing with your back to the camera. That photograph gave me the chance to show a fine example of the depiction of invisible things.’[2]
For Magritte the face of another was an ‘invisible thing’ that