MoMA | Author: Michael Duffy

Posts by Michael Duffy

December 10, 2013 | Behind the Scenes, Collection & Exhibitions, Conservation

Magritte’s The Enchanted Pose, 1927: Palette Unveiled

Posted by Ana Martins, Associate Conservation Scientist Chris McGlinchey, Conservation Scientist Michael Duffy, Painting Conservator

As indicated in the previous posts in this series, MoMA paintings conservators and conservation scientists have been studying five Magritte paintings for the past two years in preparation for Magritte: The Mystery of the Ordinary, 1926–1938.

November 21, 2013 | Behind the Scenes, Collection & Exhibitions, Conservation

Magritte’s The Menaced Assassin, 1927—Treatment and Research

Posted by Michael Duffy, Painting Conservator

As indicated in the previous posts in this series, MoMA paintings conservators Cindy Albertson, Anny Aviram, and Michael Duffy have been studying five Magritte paintings for the past two years in preparation for Magritte: The Mystery of the Ordinary, 1926–1938.

October 31, 2013 | Collection & Exhibitions, Conservation

The Discovery of Magritte’s The Enchanted Pose

Posted by Michael Duffy, Painting Conservator Cindy Albertson, Assistant Conservator

As indicated in the previous post in this series, MoMA paintings conservators Cindy Albertson, Anny Aviram, and Michael Duffy have been studying five Magritte paintings for the past two years in preparation for Magritte: The Mystery of the Ordinary 1926–1938.

October 15, 2013 | Behind the Scenes, Collection & Exhibitions, Conservation

Revealing the Mystery of Magritte’s Materials and Techniques

Posted by Danielle Johnson, Curatorial Assistant, Department of Painting and Sculpture Michael Duffy, Painting Conservator

From left to right: Conservators Michael Duffy, Anny Aviram, and Cindy Albertson, and Curator Anne Umland in MoMA’s paintings conservation lab with René Magritte’s The False Mirror; The Palace of Curtains, III; and The Portrait

In his polemical 1938 speech “La Ligne de vie (Lifeline),” René Magritte spoke of his “objective representation of objects,” claiming that, “In my view, this detached way of representing things is characteristic of a universal style in which the manias and minor preferences of the individual no longer play any part.”