拍品專文
Magritte made as many as twenty-five bottle paintings, of which all are either nude women or landscapes; however, none are dated and, given their fragility, it is not clear how many survive. It is believed that Magritte began to make bottle paintings in the late 1940s.
Edward James wrote to Magritte in 1941, telling him that his idea for bottle paintings was excellent and that they would find many buyers, especially in the Unitd States. "You will sell alot at good prices. This is exactly New York taste and Hollywood's as well. People in New York were, at least before the war, more sophisticated than in London. I don't know why, but for the last 15 years there has been more taste for this sort of fantasy in New York".
Encompased within the landscape of the present work are four of Magritte's attributes from his "language of signs". These signs are most often seen in Magritte's work replacing the torso of the figure, in which instance it is believed the artist's intentions were toward self-portraiture. These symbols first make their appearance as cut-outs in L'alphabet des rvlations, 1929 (Sylvester, no. 304; Menil Collection, Houston) and Le rendez-vous, 1937 (Sylvester. no. 447; private collection).
Edward James wrote to Magritte in 1941, telling him that his idea for bottle paintings was excellent and that they would find many buyers, especially in the Unitd States. "You will sell alot at good prices. This is exactly New York taste and Hollywood's as well. People in New York were, at least before the war, more sophisticated than in London. I don't know why, but for the last 15 years there has been more taste for this sort of fantasy in New York".
Encompased within the landscape of the present work are four of Magritte's attributes from his "language of signs". These signs are most often seen in Magritte's work replacing the torso of the figure, in which instance it is believed the artist's intentions were toward self-portraiture. These symbols first make their appearance as cut-outs in L'alphabet des rvlations, 1929 (Sylvester, no. 304; Menil Collection, Houston) and Le rendez-vous, 1937 (Sylvester. no. 447; private collection).