For the fourth year running, MoMA visitors who pass through the Museum’s film entrance during the days leading up to Halloween are treated to an iconic modern-art masterpiece—in seasonally appropriate pumpkin form. This year, in celebration of the Henri Matisse: The Cut-Outs exhibition, the knife-wielding crazies at Maniac Pumpkin Carvers have “cut out” a beautiful interpretation of Matisse’s Blue Nude.
Posts tagged ‘René Magritte’
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.
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.
For most graphic designers, typography is one of the most important, challenging, and seductive parts of graphic design. So when Anne Umland, The Blanchette Hooker Rockefeller Curator of Painting and Sculpture, and curatorial assistant Danielle Johnson, who organized the exhibition Magritte: The Mystery of the Ordinary,1926–1938, suggested incorporating Magritte’s beautiful lettering style—or a version inspired by it—for the title wall design, I was, of course, very excited. I began my work on the project by researching and gathering samples of where Magritte’s lettering appeared, such as in his paintings La Trahison des images (The Treachery of Images), L’Apparition (The Apparition),</a> and Le Masque vide (The Empty Mask).
There were many variations from one artwork to another: some had greater contrast of thick and thin, others were more condensed, and there were perceptible shifts in stroke weight—largely due to the proportion of sizes between the brush and the letters he was drawing. Yet, it surprised me to see how incredibly consistent his letterforms were. The letter “p,” for example, the most notably unique character in his alphabet, always had an open counter, and looked like an “n” with a prolonged stem. The end of the letter “s” consistently looped inwards into a soft twirl that finished with a small, delicate node.
To say that my first attempts were not quite there is an understatement.
It took dozens of variations, testing, tweaks, and just plain old graphic designer obsession to get it to a point that felt right and captured the elegant, rhythmic, and gestural quality of Magritte’s original lettering. When I got stuck on how to resolve a particular transition between letters—for example, between the “B” and “r” in Brussels—I would go back to my research and sure enough, Magritte was there to give me a helping hand.
My finished lettering is used in five places throughout the exhibition. Taken out of it’s familiar context in Magritte’s paintings, it now functions as signage that both guides visitors through the galleries and draws them in.
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.
Halloween at my high school was never boring. The classic 1980 movie Fame was inspired by NYC’s La Guardia HS, and was pretty accurate: you would indeed hear gospel singing in a music room above you during homeroom, see young actors heatedly rehearsing scenes in the hallways, and the art students—ah, the art students. I knew them well as I was among them. Some were mind-bogglingly prodigious, and perhaps as a result, Halloween proved to be a way to show off the skillz that would surely later in life pay the billz. Case in point: Tristan Elwell’s costume one year.
When I saw the above photo again after lo, so many years (please also note the existence of not one, not two, but three mullets behind Tristan), I felt the inevitable surge of nostalgia, and also a sense of synchronicity. The Magritte exhibition had just begun, and as such my head was full of green apples and bowler hats.
I found myself wondering what other Magritte-ian things were out there. As it so happens, Anne and Danielle, the curators of Magritte: The Mystery of the Ordinary, 1926–1938, had already done their own Internet searching and found several clever and charming things like this:
Of course, people aren’t only riffing on The Son of Man.* The Treachery of Images (This Is Not a Pipe) is equally well-known, if not more so.
In fact, even the cover of the book I was reading at the time happened to reflect this beloved painting.
But I have to admit this last one, inspired by the spooky and haunting The Lovers, is my favorite of these. Not as spooky and haunting as the real thing, but not exactly a laugh riot, either, these parking lot lovers managed to create their own work of art. And as we all know, Plastic Bags Are Not a Toy. How riskily romantic of them!
And then I stumbled upon Andrea K. Scott’s article in the New Yorker, in which she declared “Magritte’s art has been hijacked…from the Beatles’ record label to a Volkswagen ad to a bowler-hat light fixture.” Hijacked is a strong word, Ms. Scott! After all, Magritte’s art isn’t the first to inspire inventive takeoffs.
See a few more Magritte tributes on our recently launched MoMA Tumblr.
* Son of Man is not on view in MoMA’s current exhibition, as it was painted in 1964, after Magritte’s breakthrough years. However, The Lovers and The Treachery of Images (This Is Not a Pipe) are.
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.”
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