Rene Magritte What Teachers Taught Him at Royal Academy of Fine Arts of Brussels

1903–1966

Born in 1903 in Roma­nia, Vic­tor Brauner was the elder goop­er of the Sur­re­al­ist pho­tog­ra­ph­er Théodore Brauner. Beingness a stu­dent at the Bucharest Fine Art School dur­ing 1919–1921, Vic­tor Brauner was an ear­ly par­tic­i­pant in the buzzing art scene of the time.

At the occa­sion of the start exhi­bi­tion of his works in Bucharest in 1924, Brauner co-edit­ed with the poet Ilar­ie Voron­co an edi­tion of the Dada mag­a­zine, enti­tled 75 HP (Equus caballus­prisoner of war­er), in which he pub­lished his so-called 'pic­to-poet­ry' homo­i­festo. His jux­ta­po­si­tion of let­ters, images and colours cre­at­ed visu­al poems influ­enced past the con­tem­po­rary research­es of Futur­ism, Dada and Constructivism.
Dur­ing his first vis­information technology to Paris in 1925, Brauner dis­cov­ered Sur­re­al­ism. He joined the move­ment imme­di­ate­ly when he gear up­tled in the French cap­i­tal in 1932. Brauner was par­tic­u­lar­ly close to the painter Yves Tan­guy. Brauner con­tributed to the Sur­re­al­ist dis­play at the 6th edi­tion of the 'Salon des Surindépen­dants' in 1933. The fol­depression­ing year, the Pierre gallery host­ed his get-go ane-human being prove, for which André Bre­ton wrote the pref­ace of the catalogue.
In 1935 Brauner returned to Bucharest for three years. Upon his return to Paris Brauner par­tic­i­pat­ed in the 1938 and 1939 edi­tions of the 'Salon des Surindépen­dants' with a series enti­tled 'Chimères'. As a com­mu­nist Jew, Brauner was forced to choose exile in the Due south of French republic dur­ing the Vichy dominion of Nazi occu­pied France. Towards the end of the Sec­ond Globe War, Brauner went into full hid­ing and worked on a serial of wax draw­ings and exper­i­ment­ed with sculp­ture; the lack of avail­able mate­ri­als pushed him to impro­vise and introduce.
In 1947, Brauner par­tic­i­pat­ed in the Inter­na­tion­al Sur­re­al­ist Exhi­bi­tion held at the Maeght gallery, where he showed 'Loup-Table', ane of his best-know works. Brauner's indi­vid­u­al­ism how­ev­er pushed the Sur­re­al­ists to exclude him from the group in 1948. Brauner con­tin­ued to devel­op his enquiry into a new pic­to­r­i­al lan­guage which revealed the illusory.

Brauner left French republic for Switzer­land where he suc­cumbed to a long ill­ness in March 1966. He was cached at the Mont­martre Ceme­tery in Paris. In 1996, the Cen­tre Georges Pom­pi­dou host­ed an impor­tant ret­ro­spec­tive to this major fig­ure of Sur­re­al­ism, costless inven­tor and inde­pen­paring spir­it. In 2020 the 'Musée d'Art Mod­erne de Paris' host­ed a one-homo show enti­tled Vic­tor Brauner. Je suis le rêve. Je suis fifty'inspiration.

1897–1994

Built-in in Bel­gium into a bour­geois fam­i­ly, Paul Del­vaux offset­ed train­ing as an archi­tect at the Roy­al Acad­eastward­my of Fine Arts in Brus­sels in 1916.
Soon, Del­vaux turned to paint­ing which he explored under the influ­ence of his teacher, mas­ter of Sym­bol­ism Jean Delville; he also met René Magritte, with whom he chief­tained a friend­ly rela­tion­ship through­out his life­time. Dur­ing the 1920s, Del­vaux worked in a style which can be defined as a Mail-Impres­sion­ist inter­pre­ta­tion of Expres­sion­ism. Dur­ing the late 1920s his works fea­tured nudes in land­scapes heav­i­ly influ­enced by the 2 major expo­nents of Flem­ish Expres­sion­ism Con­stant Per­me­ke and Gus­tave De Smet. In his quest for per­fec­tion, Del­vaux was ofttimes dis­sat­is­fied and destroyed many of these paintings.

Dur­ing 1933, Del­vaux nether­went a change of style, reverberate­ing the influ­ence of the Meta­phys­i­cal Paint­ing of Gior­gio de Chiri­co, whose work he was enlightened of since 1927. When he saw de Chirico's work at the Sur­re­al­ist exhi­bi­tion held at the leg­endary gallery 'Le Mino­tau­re' in 1934, Del­vaux decid­ed to 'paint poet­ry' and adhered to Sur­re­al­ism. The works 'Palais en ruine' and 'Le Rêve', both dat­ed 1935, are con­sid­ered his starting time Sur­re­al­ist works. His series 'Femmes en den­telle' con­firmed his cho­sen direc­tion. With­out ever offi­cial­ly belong­ing to the Sur­re­al­ist move­ment, Paul Del­vaux is con­sid­ered one of its major fig­ures. In 1938, his works were pre­sent­ed in Paris at the land­mark 'Expo­si­tion Inter­na­tionale du Sur­réal­isme' organ­ised by André Bre­ton and Paul Élu­ard. Where­as his com­pa­tri­ot René Magritte depict­ed ideas, Del­vaux remained sin­gu­lar in his fond­ness for nar­ra­tion and the the­atri­cal, hall­marks of Symbolism.
His works depict antiquarian ruins, imag­i­nary archi­tec­tur­al con­struc­tions or con­tem­po­rary city struc­tures against desert­ed and mys­te­ri­ous land­scapes haunt­ed by inac­ces­si­ble female figures.
The skele­tons he saw at the Brus­sels Muse­um of Nat­ur­al His­to­ry made an appear­ance in many of his paint­ings and con­tributed to cre­ate a strange and fan­tas­tic universe.
Dur­ing the 1930s Del­vaux was com­mis­sioned large murals for the Ostend Casi­no and for the 'Palais des Con­grès' in Brus­sels, which earned him great respect. In 1956 Del­vaux rep­re­sent­ed Bel­gium at the 27th Venice Bien­nale where his scenes of the 'Pas­sion of Christ', pop­u­lat­ed with skele­tons, acquired a scan­dal; in 1961, the 'Musée des Beaux-Arts' of Lille host­ed his kickoff ret­ro­spec­tive ; in 1975, a large ret­ro­spec­tive was held in his hon­our at the Tokyo Nation­al Muse­um of Modernistic­ern Art. In 1982 the Paul Del­vaux Muse­um opened Saint-Ides­baldheaded on the Bel­gian Coast. Del­vaux died in Saint-Ides­baldheaded in 1994.

1881–1955

Born in 1881 in Argen­tan, Due north West France, Fer­nand Léger, who would lat­er car­ry the sobri­quet of 'peas­ant of the avant-garde' decid­ed to study archi­tec­ture. How­ev­er, at his arrival in Paris in 1900, he changed direc­tion in favour of paint­ing. Hav­ing failed the entry examination of the 'École des Beaux-Arts' Léger fre­quent­ed sev­er­al artists' stu­dios whilst con­cen­trat­ing on depict­ing. Hav­ing set­tled in Mont­par­nasse, the cra­dle of Mod­ern Fine art, Léger befriend­ed the painters Robert Delau­nay and Marc Cha­gall, likewise as the poets Blaise Cen­drars, Guil­laume Apol­li­naire and Max Jacob. The young Léger adhered to Mail service-Impres­sion­ism. Every bit his style devel­oped dra­mat­i­cal­ly dur­ing 1902–1908 Matisse grad­u­al­ly destroyed nearly of this ear­ly production.

The land­mark Paul Cézanne ret­ro­spec­tive of 1907 left a last­ing impres­sion and equally of 1910 Matisse turned towards the Cubist exper­i­ments of Georges Braque and Pablo Picas­so. He joined the 'Sec­tion d'Or' group which unit­ed Albert Gleizes, Jean Met­zinger, Hen­ri Le Fau­con­nier and the broth­ers Duchamp. Despite his desire to cre­ate a not-fig­u­ra­tive real­i­ty every bit pre­scribed by Cubism, Léger always remained more loy­al to the visu­al than to the intel­lec­tu­al side of Cubism.

At the time, Léger was rep­re­sent­ed by the bargain­er Daniel-Hen­ry Kah­n­weil­er and par­tic­i­pat­ed in many exhi­bi­tions in Paris, Moscow, and at the New York Armory Show in 1913. His enquiry focussed on the con­trast of geo­met­ri­cal forms in order to cre­ate an antag­o­nis­tic dynam­ic every bit a reflec­tion of the mod­ern world; his paint­ings dis­played movement­ment in the oppo­si­tion of tubu­lar vol­umes, shapes, con­tours, blackness lines and pure colour, a manner which the art crit­ic Louis Vaux­celles named 'Tubisme'.

Dur­ing the Great War, Léger was assigned the job of stretch­er bear­er, which left him some time for drawing.

In 1917, Léger signed a con­tract with the leg­endary art deal­er Léonce Rosen­berg of the gallery 'L'Try Mod­erne'. Fol­depression­ing the end of the Great War, Léger pro­duced large paint­ings dis­play­ing his inter­est in the mod­ern world of the urban indus­tri­al country­scape and the con­fronta­tion between man and machine. His affec­tion for the mod­ern world led him to the rel­a­tive­ly new medi­um of cin­eastward­ma. As such he co-direct­ed 'Bal­let Mécanique' with the Amer­i­can film-mak­er Dud­ley Mur­phy in 1924.
Dur­ing the sec­ond half of the 1920s, Léger intro­duced his more 'sta­t­ic' works such as 'La lec­ture' of 1924 and con­cen­trat­ed on the notion of the so-called 'Fig­ure-Object'.

Léger was seri­ous­ly invest­ed in teach­ing and in 1924 he plant­ed with Amédée Ozen­fant the 'Académie mod­erne', a pri­vate schoolhouse which would become the 'Académie de fifty'fine art con­tem­po­rain' in 1934. Dur­ing the 1930s Léger tried to rec­on­cile in his big murals the styles of the avant-garde with popular­u­lar art. At the out­break of the Sec­ond Earth State of war Léger crossed the Atlantic to set­tle in New-York. Upon his return to France in 1946, Léger took a stu­dio in the Parisian sub­urb of Mon­trouge and pur­sued his enquiry into cre­at­ing an art that has a social func­tion, using imagery that all could com­pre­hend. Léger offset­ed a serial of paint­ings pop­u­lat­ed with con­struc­tion piece of work­ers on build­ing sites. The mon­u­men­tal 'Les Con­struc­teurs, état défini­tif' com­plet­ed this series in 1950. Léger as well turned his manus to fres­co-paint­ing, car­toons for stained drinking glass for the Church of Aud­in­court, and sculp­ture every bit dis­played in 'La Grande Fleur qui mar­que' of 1952.
Léger died in 1955 in Gif-sur-Yvette near Paris. In 1960, the 'Musée Nation­al Fer­nand Léger' was inau­gu­rat­ed in Biot on the French Riviera.

1881–1955

Built-in in Paris in 1881, Albert Gleizes trained as a fab­ric design­er in his father's indus­tri­al design work­shop. Nephew of the aca­d­e­m­ic painter Léon Com­erre, Gleizes start­ed paint­ing auto­di­dact in 1901. In his beginning works Gleizes paired the Impres­sion­ist tech­nique of Pis­sar­ro with den­si­ty in com­po­si­tion used by the Neo-Impressionists.
The dis­cov­ery of the work of Paul Cézanne led Gleizes to paint in a pro­to-Cubist style.
Fol­low­ing a short peri­od of exper­i­ment­ing with Fau­vism around 1908, Gleizes found his phone call­ing in Cubism. Dur­ing the sum­mer of 1909, Gleizes sojourned in the Pyre­nees where he pigment­ed in a sim­ple lin­ear way, akin to Hen­ri Le Fau­con­nier. Dur­ing 1910 Gleizes affirmed his Cubist style in the ana­lyt­i­cal decom­po­si­tion of the sub­ject and the employ of mul­ti­ple view­points ren­dered in sub­dued colours. Gleizes par­tic­i­pat­ed in the 1911 'Salon des Indépen­dants' which lat­er became known as the 'Cubist Scan­dal'. Gleizes' paint­ing enti­tled 'Femme aux phlox' hung along­side Cubist works by his friends Hen­ri le Fau­con­nier, Fer­nand Léger, Jean Met­zinger and Robert Delau­nay. It was the first time that the gen­er­al pub­lic was con­front­ed with Cubism — the work of Picas­so and Braque was exhib­it­ed at Daniel-Hen­ry Kahnweiler's gallery and was but known in select intel­lec­tu­al circles.

In 1912, Gleizes and Jean Met­zinger pub­lished the movement'southward offset man­i­festo 'Du Cubisme'. It stat­ed that the manner was devel­oped from the utilize of suc­ces­sive simul­ta­ne­ous view­points to depict a sub­ject. Dur­ing the same yr, Gleizes exhib­information technology­ed at the 'Salon de la Sec­tion d'Or' his paint­ing enti­tled 'Dépi­quage des moissons' which demon­strat­ed the painter's tech­ni­cal skill and under­stand­ing of Cubism whilst also herald­ing Brainchild.

At the out­intermission of The Great War, Gleizes served at the front simply was called back in 1915. Gleizes took this oppor­tu­ni­ty to depart for New York. Here he fre­quent­ed Mar­cel Duchamp and Fran­cis Picabia and dis­cov­ered in the rhythm of Jazz music an equiv­a­lent to his pic­tur­al research­es. In 1916, Gleizes was in Barcelona to attend his first ane-man show. Upon his return to France in 1919, Gleizes des­ig­nat­ed much fourth dimension to teach­ing and to the pur­suit of the the­o­ret­i­cal research into his so-chosen 'tableaux-objets', using apartment colour planes in a geo­met­ric fash­ion. Gleizes alter­nat­ed pure Abstract com­po­si­tions with vague figuration.
In 1931, Gleizes joined the grouping 'Abstrac­tion-Créa­tion' which defend­ed inter­na­tion­al Abstract Art.

In 1937, Gleizes worked along­side Robert Delau­nay, Fer­nand Léger and Léopold Sur­vage on large murals for the Uni­ver­sal Exhi­bi­tion. In 1938, Gleizes, Jacques Vil­lion and Sonia Delau­nay pro­duced dec­o­ra­tive pan­els for the 'Salon des Tui­leries'. Dur­ing the 1930's, Gleizes' Abstrac­tion became imbued with increas­ing spir­i­tu­al­i­ty, sourced in Byzan­tine and medieval paint­ing. In 1939, Gleizes set­tled in Saint-Rémy, Provence, sur­circular­ed by his pupils. In 1947, Gleizes had a first ret­ro­spec­tive exhi­bi­tion in Lyon. Gleizes died in Avi­gnon in 1953.

1863–1944

Born in 1863 in Nor­manner, Edvard Munch, first vis­it­ed Paris in 1885. Hav­ing stud­ied paint­ing in his home coun­try, the Parisian fine art scene with its rad­i­cal Post-Impres­sion­ism movement­ments proved a for­ma­tive expe­ri­ence which cul­mi­nat­ed in his 1886 paint­ing enti­tled 'The Ill Child'. Depict­ing the impend­ing expiry of his fif­teen-yr old elder sis­ter, Munch com­mu­ni­true cat­ed what was felt past the soul instead of what was seen past the heart, a mode which became known every bit Expres­sion­ism. Munch's ear­ly life expe­ri­ence of hurting and death turned his inter­est towards Sym­bol­ism for sub­ject affair.
Munch returned to Paris for a two-twelvemonth schol­ar­transport in 1889 and exhib­information technology­ed his 1884 paint­ing 'Forenoon­ing' at the Nor­we­gian Pavil­ion of the Uni­ver­sal Exhi­bi­tion. In Paris Munch tried the Pointil­lism tech­nique also equally Syn­thetism devel­oped by Paul Gau­guin and the school of Pont-Aven. The sim­pli­fi­ca­tion and styl­i­sa­tion of form to express sub­jects of Sym­bol­ism led him to limited his begetter's recent expiry in his paint­ing enti­tled 'The Nighttime'.

Upon his return to Nor­way, Munch exhib­it­ed a series of paint­ings in 1892, which effect­ed in an invi­ta­tion to exhib­it in Berlin at the Union of Berlin Artists Novem­ber show. The browse­dal and pub­lic out­rage the exhi­bi­tion caused, brought Munch instant fame. Munch set up­tled in Berlin where he fre­quent­ed the Scan­di­na­vian intel­lec­tu­al elite and indulged in a bohemi­an lifestyle.

In 1893, he exhib­it­ed six can­vass­es explor­ing the strug­gle between man and woman, enti­tled 'Written report for a Series: Dearest'. It was the gen­e­sis of a larg­er cycle called 'The Frieze of Life' bargain­ing with love, ill­ness and death.  Well-known works such as 'The Scream', 'Vam­pire', 'Angst' and 'Melan­choly' vest to this group. All these pigment­ings have their par­al­lels in prints and draw­ings and lived pro­longed lives through suc­ces­sive rep­e­ti­tions and reworkings.
The crit­ics dubbed his work as 'Psy­chichi Real­ism'. Munch's Syn­thetism, which shows the influ­ence of the Nabis, became his style of express­ing his own psy­che and sub­jects sourced in his ain life experiences.

In 1896, Munch returned to Paris, where he gave upwards pigment­ing to ded­i­cate fourth dimension to engrav­ing and lith­o­g­ra­phy. In 1898, Munch returned to Nor­manner, before under­tak­ing a long trip through Europe in 1899. At the begin­ning of the 20th cen­tu­ry, Munch pro­duced a torso of large works in a more than dec­o­ra­tive manner, influ­enced past the Ger­homo equiv­a­lent of 'Art Nou­veau', known every bit 'Jugend­stil'. Simul­ta­ne­ous­ly his paint­ings showed the influ­ence of the Nabis in gen­er­al, and of Mau­rice Denis in par­tic­u­lar. In 1902, Munch final­ly showed his com­plet­ed 'Frieze of Life' in Berlin.

Munch spent the first decade of the new cen­tu­ry mov­ing rest­less­ly between Bel­gium, The Under­lands, Ger­many and Den­marker. A long-term suf­fer­er from alco­holism and bouts of depres­sion, Munch was on the verge of a total men­tal suspension­down in 1908. He received care for­ment from the emi­nent Dan­ish psy­chi­a­trist Dr. Daniel Jacob­son, whose famous por­trait he pigment­ed. Munch returned to Nor­way in 1909, and last­ly ready­tled for a qui­eter life in the out­skirts of Oslo in 1916.

Munch con­tin­ued paint­ing var­i­ous sub­jects and became increas­ing­ly inter­est­ed in pho­tog­ra­phy and cin­e­ma, even pro­duc­ing exper­i­men­tal films.
Munch died of pneu­mo­nia aged eighty in his home in Nor­way in 1944. He left behind a mon­u­men­tal oeu­vre includ­ing pigment­ings, draw­ings, water­colours, prints, writ­ings, pho­tographs and cin­e­mat­ic films. In 1963, the urban center of Oslo inau­gu­rat­ed the Munch Museum.

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Source: https://lauricefineart.com/en/periode/modern-art/