Dissertations / Theses on the topic 'René Magritte'

Etude de l'evolution des idees de rene magritte (1898-1967) sur les mots et les images qui comporte quatre parties : "genese d'un peintre", "sous lesigne des mots et des images", "pensee image", "poetiqsue de l'art de magritte". Evolution vers l'alliance des mots et des images pour rendre visible la veritable "pensee" inspiree qui tend a aboutir la conception magrittienne du "veritable art de peindre" : c'est une poesie "visible". L'art de magritte vise a "obliger" la pensee, a "penser" ("voir") et a devenir libre a travers les images liberees. Cette peinture est le "signe materiel de la liberte de la pensee". En ce sens, elle a le meme but que le langage verbal, elle sert de moyen de penser. C'est la plus remarquable analogie entre ecriture et peinture magrittienne. La recherche de la pensee poetique conduit l'artiste, chercheur du "mystere" du monde, a la revelation de la pensee comme un mystere absolu. Ainsi l'evocation du mystere devient la finalite de son art des mots et des images qui s'incarne dans le tableau les deux mysteres (1966)<br>A study rene magritte, writing painging on the evolution of rene magritte's (1898-1967) ideas about words and images composed of four parts : "genesis of a painter", "under the sign of the words and the images", "thaught image", "poetry of magritte's art". Evolution towords the combination of words and images to makes visible the true inspirated poetic thaught which tend to end in magrittian conception of "real art of painting", that is a visible poetry. Magritte's art pursue to oblige the thaught, "prisoner", to "think" ("see") and to make free throwout the liberated images. This painting is the material sign of the liberty of the thaught. In this way, it has the same goal as the verbal langage, it is used as a mean pf think. This the most remarkable analogy bethween writing and magritt's painting which trys to be poetic. The research of the poetic thaught lead the artist to the reveal of the thaught as a absolut mystery which becomes incarnate in the picture the two mysteries (1966). That is the materialisation of magritte's pictorial and mental univers who was researcher of the mystery of the world and the life

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2017.<br>Made available in DSpace on 2018-01-23T03:17:34Z (GMT). No. of bitstreams: 1 349628.pdf: 1492625 bytes, checksum: 3035035f66f3a240e0dc79bf8190ecf1 (MD5) Previous issue date: 2017<br>Essa dissertação é uma proposta de leitura comparada de Julio Cortázar e René Magritte. Para realizar essa análise, foram destacados, principalmente, os contos de Cortázar ?Circe? publicado em Bestiário, de 1951, e ?Axolote?, publicado em Final de Jogo, de 1956. As obras de Magritte selecionadas foram L´invention collective, de 1934, Le mal du pays (1940) e La bataille de l´Argonne (1964). O objetivo da dissertação é realizar uma leitura que ressalte a proximidade teórica e a intertextualidade entre os dois autores, que tinham raízes no surrealismo e exploraram temas relacionados ao mito.<br>Abstract : This dissertation is a comparative reading proposal of Julio Cortázar and René Magritte. To carry out this analysis, the short stories of Cortázar "Circe" published in Bestiário (1951) and "Axolote", published in Final of Game (1956) were highlighted. The works of Magritte selected were ?L'invention collective?, 1934, ?Le mal du pays? (1940), and ?La bataille de l'Argonne? (1964). The objective of the dissertation is to carry out a reading that emphasizes the theoretical proximity and the intertextuality between the two authors, who had roots in the surrealism and explored subjects related to the myth.

Cet ouvrage examine les oeuvres de René Magritte datant de 1925 à 1933. L’auteur considère les oeuvres crées au cours de ces années comme appartenant à deux moments distincts d’un même cheminement critique des relations marchandes. Le premier moment est situé de 1925 à 1927, le second en 1933, au seuil de la découverte d’un processus de formation d’images appelé "objet- réponse". Ces deux périodes sont considérées comme étant basées sur des modes de construction opposés. Les oeuvres datant de la première période sont perçues comme étant le résultat d’une volonté de nier les principes structurels de l’oeuvre "organique". Les oeuvres construites d’après le modèle de T objet- réponse sont, quant à elles, interprétées en tant que tentative de transcender les limites strictement quantitatives et rationelles imposées à tout objet par les rapports marchands. Cette poursuite vers un dépassement de la valeur d’échange s’établit grâce à la construction de liens et d’images qui débordent toutes considérations pratiques.<br>This essay examines René Magritte’s works from 1925 to 1933. It posits that Magritte’s paintings underwent two distinct stages of resistance to commodity relations, one around 1925-1927, the other starting in 1933 with the development of a work process known as objet-réponse. It suggests that the two stages of resistance to commodity relations were founded on opposite modes of construction. The works dating from the early years are understood as being the result of a constant effort to negate the structural principles of the 'organic’ work of art, while the works dating from 1933, are understood as aiming for the creation of a new value system, one which transcends the rational and quantitative norms imposed by reified society.<br>Montréal Trigonix inc. 2018

C'est en procédant à une analyse de l'interaction entre l'écriture et l'image dans les œuvres de Joan Miró et de René Magritte que ce travail de mise en contraste cherche à vérifier quel est le rôle joué par l'écriture dans la création picturale - vérifier comment le langage écrit influence, interfère et/ou s'incorpore dans la genèse de l'œuvre d'art. Le texte est structuré autour de quatre axes centraux d'analyse, chacun comportant son propre fondement théorique et méthodologique. Le premier axe examine les fondements du modus operandi des deux artistes, et vise à mettre en valeur l'importance que la poésie a eue dans leur construction. Le deuxième confronte les deux artistes sans les comparer et pose la question de l'interaction entre le texte et l'image dans leurs œuvres picturales respectives (titres de tableaux, narration en peinture, influences littéraires, illustration) - et de même dans leur production littéraire, en prenant comme objet leurs poèmes et proses, ainsi que les aphorismes de Magritte. Les deux axes suivants explorent le rôle de l'écriture dans la création picturale des deux artistes au travers du prisme de la critique génétique. Le troisième étudie le processus de création de Magritte en prenant comme objet d'étude sa correspondance, laquelle conserverait la trace d'une documentation disparue. Dans le quatrième axe, les carnets de travail et les dessins préparatoires de Miró servent de base à une réflexion qui vise à dégager les principales fonctions que l'écriture occupe à l'intérieur du processus de création d'une peinture. C'est donc à la lumière de l'écriture que ce travail cherche à comprendre la création picturale de Miró et de Magritte<br>The present work has as its main objective to verify the role of writing in pictorial creation - to verify how written language may influence, interfere with and/or incorporate itself into the genesis of an artwork. It does so by carrying out a contrastive analysis of the interaction of text and image in the works of Joan Miró and René Magritte. The research rests upon four main axes of analysis, each one having its own methodology and its own theoretical approach. The first axis examines the founding principles of the artists' modus operandi, in an attempt to bring forth evidence of the important role played by poetry in the construction of such principles. The second axis places the two artists side by side in order to analyze a certain number of aesthetic instances where text and image interact with one another, first in their graphic and plastic work (titles, narrative, literary influences, illustration), and then in their literary work (their poetry and prose, as well as Magritte's aphorisms). The third and fourth axes of analysis explore the question of the role of writing in pictorial creation from the perspective of genetic criticism. The third axis tries to bring an understanding of Magritte's creative process through the traces that can be found in his correspondence. The fourth and last axis of analysis searches for the main operative functions of writing in the notebooks and the preliminary drawings of Miró, in order to see how writing can play a role in the creation of an image. It is thus through writing that this work aims to bring an understanding of the pictorial creation of Miró and Magritte

Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-02-26Bitstream added on 2014-06-13T20:20:12Z : No. of bitstreams: 1 rodrigues_apd_me_sjrp.pdf: 957510 bytes, checksum: 55e3937d74fcb290d6d51e27de575279 (MD5)<br>Considerando a evolução nos campos da produção artística e do próprio exercício crítico, o presente trabalho consiste em uma análise comparativa entre três contos da escritora brasileira Lygia Fagundes Telles e três telas do pintor belga René Magritte. Essa análise demonstra, a partir do conceito de homologia estrutural desenvolvido por Aguinaldo José Gonçalves, as correspondências estruturais e procedimentais entre Pintura e Literatura e, também, suas especificidades enquanto obras de códigos diferentes. O modo como cada obra, texto ou tela, trabalha a relação entre arte e realidade foi o fio condutor do processo analítico que também procurou demonstrar como a questão da representação é central na composição tanto dos contos como das pinturas. Assim, o trabalho não apenas reflete sobre as especificidades de cada sistema artístico mas também revela as correspondências e as similaridades no modo de produção da obra e nas concepções de arte, de representação, de linguagem, de signo presentes nos contos e nas telas desses artistas.<br>Considering the evolution in the fields of artist production and of critics exercises, this presents a comparative analysis among three short stories by the Brazilian writer Lygia Fagundes Telles and three paintings by the Belgian painter René Magritte. This analysis shows, from the concept of structural homology developed by Aguinaldo José Gonçalves, the structural and procedural correspondences between Literature and Painting and its specificities as works of different artistic systems. The way how each work, text or painting, deals with the relation between art and reality was the rail that led the analysis, that also intent shows that the question of representation is central in the composition as much the short stories as the paintings. In this way, this analysis not just reflects about each artistic systems specificities but also reveals the correspondences and similarities in the way of production of the art object and in the conception of art, representation, language, sign in the short stories and paintings by these artists.

Orientador: Sérgio Vicente Motta<br>Banca: Maria de Lourdes Ortiz Gandini Bladan<br>Banca: Aguinaldo José Gonçalves<br>Resumo: Considerando a evolução nos campos da produção artística e do próprio exercício crítico, o presente trabalho consiste em uma análise comparativa entre três contos da escritora brasileira Lygia Fagundes Telles e três telas do pintor belga René Magritte. Essa análise demonstra, a partir do conceito de homologia estrutural desenvolvido por Aguinaldo José Gonçalves, as correspondências estruturais e procedimentais entre Pintura e Literatura e, também, suas especificidades enquanto obras de códigos diferentes. O modo como cada obra, texto ou tela, trabalha a relação entre arte e realidade foi o fio condutor do processo analítico que também procurou demonstrar como a questão da representação é central na composição tanto dos contos como das pinturas. Assim, o trabalho não apenas reflete sobre as especificidades de cada sistema artístico mas também revela as correspondências e as similaridades no modo de produção da obra e nas concepções de arte, de representação, de linguagem, de signo presentes nos contos e nas telas desses artistas.<br>Abstract: Considering the evolution in the fields of artist production and of critics exercises, this presents a comparative analysis among three short stories by the Brazilian writer Lygia Fagundes Telles and three paintings by the Belgian painter René Magritte. This analysis shows, from the concept of structural homology developed by Aguinaldo José Gonçalves, the structural and procedural correspondences between Literature and Painting and its specificities as works of different artistic systems. The way how each work, text or painting, deals with the relation between art and reality was the rail that led the analysis, that also intent shows that the question of representation is central in the composition as much the short stories as the paintings. In this way, this analysis not just reflects about each artistic systems specificities but also reveals the correspondences and similarities in the way of production of the art object and in the conception of art, representation, language, sign in the short stories and paintings by these artists.<br>Mestre

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1988.<br>Includes bibliographical references (leaves 66-73).<br>In 1935, Andre Breton published his speech Qu'est-ce que le Surrealisme? with Rene Magritte's drawing, "Le Viol" (The Rape) on its cover. The image, a view of a woman's head in which her facial features have been replaced by her torso, was meant to shock the viewer out of complacent acceptance of present reality into "surreality," that liberated state of being which would foster revolutionary social change. Because "Le Viol" is such a violently charged image and because of the claims made for it by Magritte for its revolutionary potential, the drawing has been the subject of many arguments, both for and against its effectiveness. The feminist community has had a particular interest in this image (and in Magritte's work as a whole) not only because of the controversial treatment of the female subject in "Le Viol," but also because of the ways in which our culture has been so easily able to strip surrealist images of their political content and subsume them back into mainstream culture for use in those very categories of social practice which Surrealism wanted to eradicate. The reincorporation of surrealist works has been especially noticeable and damaging in the case of images of women, as feminists like Susan Gubar and Mary Ann Caws have pointed out Against those claims made against "Le Viol" as an image which affirms phallocentric language and discourse rather than disrupting them, I argue in this paper that the drawing in fact exposes the mechanisms by which female sexuality is formed and controlled within phallocentric language. In exposing these constructions, "Le Viol" forces the viewer to realize them as ideological positions which maintain women as Other, as unable to gain access to coherent meaning within that language. In performing this function, Magritte's picture undermines that process through which women are deprived of a coherent self-image and of the material power which comes with that image in the social realm. To substantiate my arguments, I trace the relationship between several of Magritte's images and the surrealist texts in which they were published, in order to provide a complex understanding of the interrelationships between word and image to which the artist directed much of his work. My use of the theoretical positions of deconstruction, feminism and psychoanalysis allows me to take the observations made onto the terrain of sexuality. These positions provide an understanding of how language and representation operate with respect to each other, and how the human subject (particularly the female) is formed through language.<br>by Robin Adèle Greeley.<br>M.S.

Loeuvre de René Magritte, loin des projecteurs du Surréalisme, est une oeuvre silencieuse. Une peinture tournée vers la pensée, vers lanalyse des images, du langage et de la représentation. Magritte a dédié la plupart de sa vie à cette recherche infatigable et, tout le temps, à deux questions: quelle est la place de limage? Quelle est la place du mot? Dans ce texte, jadopte la stratégie de mapprocher de son oeuvre par une voie tortueuse et incertaine. Ainsi, je fais reculer à un temps mythique la question sous-jacente à sa production, en me présentant comme la détentrice des souvenirs dune genèse perdue dans le temps et dans la mémoire. Jécris par des souvenirs. Les autres voix surgissent avec les fils de lécriture. Pendant que jécris, jentends ces voix, je peux même dialoguer avec elles. Je peux tisser le texte à la mesure de mon désir. Je me souviens des mots distants, des images trouvées dans des livres. Je me souviens de la littérature. Lordre qui sétablit entre le choses, lordre silencieux dont aura parlé Foucault, cest le biais par où marche le texte vers loeuvre de Magritte. Parfois, certains écrivains, certains artistes sont, dans le texte, appelés au dialogue. Cest la tentative de situer ce point où se donne le vertige de limage, du mot, le vertige de la logique et de lordre des choses. Je participe au jeu de regards et miroirs qui se met en place chez Magritte et mon rôle dans cette écriture est incertain, alternant. Soit il mantient lécart propice à lexplicite de ses règles, soit il se laisse précipiter dans labîme où mènent les images et les mots. Ainsi, les approches critiques sont les approximations et les fuites possibles autour du piège que nous tend Magritte.<br>A obra de René Magritte, longe dos holofotes do Surrealismo, é uma obra silenciosa. Uma pintura voltada para o pensamento, para a análise das imagens, da linguagem e da representação. Magritte dedicou a maior parte de sua vida a essa pesquisa incansável e, o tempo inteiro, a duas perguntas: qual o lugar da imagem? Qual o lugar da palavra? Neste texto, adoto a estratégia de me aproximar de sua obra por uma via tortuosa e incerta. Assim, faço recuar a um tempo mítico, a questão que subjaz à sua produção, colocando-me em cena como a portadora das lembranças de uma gênese perdida no tempo e na memória. Escrevo através de lembranças. As outras vozes surgem com os fios da escrita. Enquanto escrevo, ouço essas vozes, posso mesmo dialogar com elas. Posso tecer o texto à medida do meu desejo. Lembro-me de palavras distantes, das imagens encontradas em livros. Lembro-me da literatura. A ordem que se estabelece entre as coisas, a ordem silenciosa de que falaria Foucault, é o viés por onde o texto caminha em direção à obra de Magritte. Por vezes, alguns escritores, alguns artistas, são chamados ao texto para um diálogo. Para tentar localizar esse ponto em que acontece a vertigem da imagem, da palavra, a vertigem da lógica e da ordem das coisas. Como participante do jogo de olhares e espelhos que se instaura na obra de Magritte, meu lugar nesta escrita é incerto. Alterna-se. Ora mantém um distanciamento propício à explicitação de suas regras, ora se deixa precipitar no abismo a que imagens e palavras conduzem. Por isso, as abordagens críticas são as aproximações e as possíveis fugas à beira da armadilha que Magritte monta para nós.

Syftet med detta arbete är utifrån litteraturuppgifter samt analys beskriva Salvador Dalis och René Magrittes konstnärliga arbetsmetod, och utifrån detta göra en egen visuell gestaltning. Metoden jag har använt mig utav är litteratur, bildandalys och konstnärliga gestaltningar.Salvador Dalis metod i Minnets beständighet bygger på gränslöshet och fantasi, med tydliga semiotiska inslag. Du som betraktare avgör vad som ses, vill du se målningarna enkelt och bara uppleva det som är målat, eller vill betraktaren sjunka in i en värld av nyskapande, suddiga gränser och bortom alla regler. René Magrittes metod bygger i Människosonen på naturliga och trovärdiga drag, hans målning framstå som verklig fast med en touch av fantasi, med sparsamma drag av semiotik.<br>The purpose of this work is based on literature data and analysis describing the Salvador Dali and René Magritte's artistic working method, and accordingly make its own visual interpretation. The method I used is out literature, bildandalys and artistic depictions.Salvador Dali's method of memory resistance based on the boundlessness and fantasy, with distinct semiotic elements. You as a viewer decides what is seen, you want to see the paintings simple and just experience what is painted, or want the viewer to sink into a world of innovative, blurred boundaries and beyond all rules. René Magritte's method is based in the Son of man on natural and credible move, his painting appear to be real solid with a touch of fantasy, with sparse features of semiotics.

Submitted by WALMIRA SODRÉ AUSTRÍACO MORAES null (walmira.sodre@hotmail.com) on 2016-04-12T00:03:48Z No. of bitstreams: 1 TESE MORAES, Walmira Sodré Austríaco .pdf: 20646176 bytes, checksum: f74fdb48a92c1f63709f47e5cfb4d9c2 (MD5)<br>Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-04-13T13:50:30Z (GMT) No. of bitstreams: 1 moraes_wsa_dr_sjrp.pdf: 20646176 bytes, checksum: f74fdb48a92c1f63709f47e5cfb4d9c2 (MD5)<br>Made available in DSpace on 2016-04-13T13:50:30Z (GMT). No. of bitstreams: 1 moraes_wsa_dr_sjrp.pdf: 20646176 bytes, checksum: f74fdb48a92c1f63709f47e5cfb4d9c2 (MD5) Previous issue date: 2016-03-01<br>Não recebi financiamento<br>O corpus desta pesquisa constitui-se dos contos de Edgar Allan Poe, The Domain of Arnheim or Landscape Garden, publicado pela primeira vez em 1847, e Landor’s Cottage. A pendant to “The Domain of Arnheim”, publicado pela primeira vez em 1849. Aos dois contos agrupam-se as pinturas de René Magritte que recebem o mesmo título do conto de Poe: The Domain of Arnheim (1938), The Domain of Arnheim (1944), The Domain of Arnheim (1949) e The Domain of Arnheim (1962). O recorte materializa-se mediante a análise dos efeitos estéticos e das várias produções de sentidos metafóricos registrados nas telas e nos contos. Para tanto, propomos uma discussão que tem como referencial um processo de interpretação sígnica atravessado por uma historicização da relação original entre Poe e Magritte por meio da análise de outras telas e textos subjacentes àqueles que constituem o objeto da nossa investigação. O estudo constrói uma teia de relações em cuja base está a metáfora – pensada em sua historicidade dinâmica – considerada como princípio, meio e fim das injunções estabelecidas. Estimamos, como prioridade, o deslocamento histórico-estético que essa figura sofreu, e a contextualização destaca, portanto, a sua ação transformadora pela qual literatura e pintura interagem por semelhança, por similitude e/ou por dessemelhança. Nesse sentido, a relação dialética proposta constitui-se, no âmbito de nossas discussões, pelo predomínio da metáfora a partir de suas atuações no discurso literário e pictórico e entre eles, e, ainda, em face dos seus deslocamentos. Essa relação privilegia a formação de um quadro teórico que alinhe o ut pictura poesis aos efeitos advindos do uso da metáfora, o que possibilita, a nosso ver, a aproximação efetiva entre literatura (Poe) e pintura (Magritte), com ênfase, sobretudo, nas relações de similaridades estruturais que mantêm entre si.<br>The corpus of this dissertation is the short stories by Edgar Allan Poe, The Domain of Arnheim or The Landscape Garden, first published in 1847, and Landor’s Cottage. A pendant to “The Domain of Arnheim” first published in 1849. To both tales are the paintings by René Magritte that receive the same title of Poe's short stories: The Domain of Arnheim (1938), The Domain of Arnheim (1944), The Domain of Arnheim (1949) and The Domain of Arnheim (1962). The focus of the research is the analysis of the aesthetic effects and of the various productions of metaphorical meanings registered on the canvas by René Magritte and the short stories by Edgar Allan Poe. In order to accomplish this objective, this dissertation develops a discussion that has as a reference the process of meaning interpretations permeated by a historicization of the original relationship between the two artists through the analysis of other paintings and texts underlying those that, effectively, are the object of the present research. The analysis established with relationships whose base is the metaphor - thought in its dynamic historicity - considered as beginning, middle and end of the established relationships. The study focuses, in the first place, the historical-aesthetic displacement that the metaphor has gone through and this contextualization emphasizes, therefore, the transforming action of this figure of speech through which literature and painting interact between themselves by similarity and/or dissimilarity. In this sense, the dialectical relationship proposed constituted by the predominance of the metaphor from its performances in the literary and pictorial discourse and between themselves and, above all, in their movements. This relationship favors the formation of a theoretical framework that aligns the ut pictura poesis of the effects arisen out of the use of the metaphor, which enables a more effective link between literature (Poe) and painting (Magritte) with emphasis, especially, on the relationship among their structural similarities.<br>El corpus de esta investigación es los cuentos de Edgar Allan Poe, The Domain of Arnheim or The Landscape Garden, publicada por primera vez en 1847, y Landor’s Cottage. A pendant to “The Domain of Arnheim”, publicada por primera vez en 1849. Los dos cuentos se agrupan las pinturas de René Magritte que reciben el mismo título del cuento de Poe: The Domain of Arnheim (1938), The Domain of Arnheim (1944), The Domain of Arnheim (1949) y The Domain of Arnheim (1962). La delimitación se materializa a través del análisis de efectos estéticos y de las diversas producciones de significados metafóricos inscritos en las pantallas de René Magritte y los cuentos de Edgar Allan Poe. Para este, el trabajo se presenta un debate que tiene como referencia proceso de interpretación medio atravesado por un historicismo la relación original entre los dos artistas mediante el análisis de textos y otras pantallas que aquellos que, efectivamente, son el objeto de esta investigación. El análisis se basa una red de relaciones en que la base es una metáfora, pensaba en su historicidad, considerado como principio, medio y fin de las relaciones establecidas. Según las estimaciones del estudio, como una prioridad, el desplazamiento historia y estética que la metáfora ha sufrido y esta contextualización se destaca, por lo tanto, a la acción transformadora de esta figura por que la literatura y la pintura interactuar por similitud o disimilitud. En este sentido, la relación dialéctica propuesta se lleva a cabo por un predominio de la metáfora de sus actuaciones en los discursos literarios, pictóricos y entre ellos y, sobre todo, en sus desplazamientos Esta relación favorece la formación de un marco teórico que pueda alinear el ut pictura poesis de los efectos derivados de la utilización de la metáfora, lo que hace que el enfoque más eficaz entre la literatura (Poe) y la pintura (Magritte) con énfasis, especialmente en las relaciones de similitud estructural que mantiene entre ellos.

La tesi investiga la relació entre l'art de René Magritte i la publicitat actual. Es vol esbrinar si durant un determinat període de temps es detecta una permanència de l'art magrittià en peces gràfiques actuals i per tant es pot determinar l'existència de "publicitat magrittiana". Per tal d'acotar aquest objectiu s'empra la metodologia de l'anàlisi de contingut amb una mostra de 6.360 anuncis editats en la publicitat impresa del dominical espanyol d'"El País Semanal" (El País). A la vegada, es realitza un recorregut comparatiu entre les etapes pictòriques i publicitàries de l'artista belga, fent una especial menció a les etapes i els objectes recurrents que formen part de l'anomenat abecedari magrittià.<br>This thesis makes a research on the relationship between René Magritte's art and the nowadays advertising. The main aim is to discover whether, during a certain period of time, some magrittian art influences can be detected in ads and, therefore, it can be said that the existence of the "magrittian advertising" as specific technique. To confirm this claim, the content analysis method is used with a sample of 6.360 advertisings published in the Spanish Sunday magazine "El País Semanal" (newspaper, El País). At the same time, a comparative research of the different pictorial and advertising stages of the Belgian artist has been carried out.

Orientador : Joaquim Brasil Fontes<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação<br>Made available in DSpace on 2018-07-28T00:21:01Z (GMT). No. of bitstreams: 1 Linardi_AnaBeatriz_M.pdf: 39958102 bytes, checksum: 2bd51290db8cec4da6c1012120be4514 (MD5) Previous issue date: 2001<br>Mestrado

Cette thèse se propose d’analyser les différents aspects de l'art de R. Magritte dans son interdisciplinarité. Le premier chapitre prend comme point de départ le versant philosophique et linguistique que l’on peut remarquer dans son œuvre, pour analyser de façon détaillée les aspects mimétiques et sémiotiques. L'utilisation que fait Magritte de certaines formes de la rhétorique rend évidente l'importance de l'aspect graphémique du mot, gouverné par le visible. La coïncidence entre les deux contraires (sémiosis et mimesis) laisse percevoir l'espace qui les sépare. D'un point de vue comparatiste, cet entrelacs permet d’établir des rapports entre certaines œuvres littéraires (de Baudelaire et de Mallarmé, notamment) et des titres ou des représentations dans les œuvres de Magritte. Les mots deviennent des images et le rôle de la mémoire et du rêve trouve un écho dans la pensée de R. Caillois. L'artiste place le passé, le présent et le futur dans un réseau qui peut être mis en parallèle avec l'Atlas de Warburg. Dans cette mosaïque, le geste d’écrire et celui de peindre s’entrelacent, de telle sorte que, chez Magritte, la distinction entre les deux actions s’efface dans la libre association du visible, qui acquiert ainsi un sens nouveau. Cette négation et cet écart se fondent en un seul contenant qui, d’un côté, exalte la différence mais qui, de l’autre, se construit à partir de sa propre appartenance. Certaines créations de R. Magritte dans le domaine de l'illustration ou de la production filmique le révèlent. On assiste à la décomposition et à la recomposition, par le biais de l'humour, de réalités distantes entre elles, ce qui laisse entrevoir la frange minime de l’écart<br>This thesis aims at analyzing Magritte’s multifarious artistry in the light of its interdisciplinarity. The first chapter starts from the philosophical and linguistic côté that can be found in his work in order to deeply explore its figurative and semiotic aspects. The use of rhetorical forms in Magritte clearly shows the importance of the graphemic character of the word, dominated by the mimetic sign. The encounter, or rather the coincidence, between the two opposites (mimesis and semiosis) discloses the space that separates them: the nowhere we tried to define through various instruments. From a comparative point of view, this space of separation shows various literary ties (especially with Baudelaire and Mallarmé) inherent in the titles and in the representations of Magritte work. The words become images and the role of memory and dream attuned to the thought of R. Caillois. The artist constructs a network with the past, the present and the future, which suggests a parallelism with Warburg’s Atlas. In this mosaic, the gesture of writing mixes with the painting; similarly in Magritte the distinction between the two actions is cancelled through the free re-signified association of the visible.The painter destroys and builds at the same time, superimposing appearances, so to move away from a faithful description of reality. This rejection produces a gap in which the content of words and images fuses into a single element: page–canvas–screen. This is what some of Magritte’s creations reveal in their illustrative and film transposition, in which we see the assembling and disassembling of distant realities through the use of humor that reveals their thin divide<br>Questa tesi si propone di analizzare i molteplici punti di vista di Magritte alla luce della sua interdisciplinarità. Il primo capitolo si basa sul côté filosofico e linguistico rintracciabile nella sua opera, per esplorarne nel dettaglio l’aspetto figurativo e semiotico. L’utilizzo delle forme retoriche in Magritte mostra con evidenza l’importanza del carattere grafemico della parola, sovrastato dal segno mimetico. L’incontro, o meglio la coincidenza, tra i due contrari (semiosis e mimesis) lascia apparire lo spazio che li separa: il non luogo a cui abbiamo cercato di dare una definizione. Da un punto di vista comparatista questo scarto mostra vari legami letterari (soprattutto con Baudelaire e Mallarmé) insiti nei titoli e nelle rappresentazioni delle produzioni magrittiane. Le parole diventano immagini e il ruolo della memoria e del sogno trova un raccordo con il pensiero di R. Caillois. L’artista costruisce una rete con il passato, il presente e il futuro, che fa pensare a un parallelo con l’Atlas warburghiano. In questo mosaico il gesto di scrivere si mescola a quello di dipingere, cosicché in Magritte la distinzione tra le due azioni si annulla nella libera associazione risimbolizzata del visibile. Il pittore distrugge e costruisce al contempo, sovrapponendo le apparenze, in modo da annullare la mimesis stessa, nel senso di descrizione fedele della realtà. La negazione e lo scarto sorgono dalla loro fusione in un unico contenitore, che da una parte esalta la differenza ma che dall’altra vi costruisce sopra la propria appartenenza. È ciò che certe creazioni magrittiane rivelano in ambito illustrativo o filmico, dove assistiamo alla decomposizione e poi alla ricomposizione delle realtà distanti attraverso l’humour, che lascia intravedere lo spessore sottile di separazione

Orientador: Norma Wimmer<br>Banca: Manuel Fernando Medina<br>Banca: Paulo Sérgio Nolasco dos Santos<br>Banca: Giséle Manganelli Fernandes<br>Banca: Nelson Luís Ramos<br>Resumo: O corpus desta pesquisa constitui-se dos contos de Edgar Allan Poe, The Domain of Arnheim or Landscape Garden, publicado pela primeira vez em 1847, e Landor's Cottage. A pendant to "The Domain of Arnheim", publicado pela primeira vez em 1849. Aos dois contos agrupam-se as pinturas de René Magritte que recebem o mesmo título do conto de Poe: The Domain of Arnheim (1938), The Domain of Arnheim (1944), The Domain of Arnheim (1949) e The Domain of Arnheim (1962). O recorte materializa-se mediante a análise dos efeitos estéticos e das várias produções de sentidos metafóricos registrados nas telas e nos contos. Para tanto, propomos uma discussão que tem como referencial um processo de interpretação sígnica atravessado por uma historicização da relação original entre Poe e Magritte por meio da análise de outras telas e textos subjacentes àqueles que constituem o objeto da nossa investigação. O estudo constrói uma teia de relações em cuja base está a metáfora - pensada em sua historicidade dinâmica - considerada como princípio, meio e fim das injunções estabelecidas. Estimamos, como prioridade, o deslocamento histórico-estético que essa figura sofreu, e a contextualização destaca, portanto, a sua ação transformadora pela qual literatura e pintura interagem por semelhança, por similitude e/ou por dessemelhança. Nesse sentido, a relação dialética proposta constitui-se, no âmbito de nossas discussões, pelo predomínio da metáfora a partir de suas atuações no discurso literário e pictórico e entre eles, e, ainda, em face dos seus deslocamentos. Essa relação privilegia a formação de um quadro teórico que alinhe o ut pictura poesis aos efeitos advindos do uso da metáfora, o que possibilita, a nosso ver, a aproximação efetiva entre literatura (Poe) e pintura (Magritte), com ênfase, sobretudo, nas relações de similaridades estruturais...<br>Abstract: The corpus of this dissertation is the short stories by Edgar Allan Poe, The Domain of Arnheim or The Landscape Garden, first published in 1847, and Landor's Cottage. A pendant to "The Domain of Arnheim" first published in 1849. To both tales are the paintings by René Magritte that receive the same title of Poe's short stories: The Domain of Arnheim (1938), The Domain of Arnheim (1944), The Domain of Arnheim (1949) and The Domain of Arnheim (1962). The focus of the research is the analysis of the aesthetic effects and of the various productions of metaphorical meanings registered on the canvas by René Magritte and the short stories by Edgar Allan Poe. In order to accomplish this objective, this dissertation develops a discussion that has as a reference the process of meaning interpretations permeated by a historicization of the original relationship between the two artists through the analysis of other paintings and texts underlying those that, effectively, are the object of the present research. The analysis established with relationships whose base is the metaphor - thought in its dynamic historicity - considered as beginning, middle and end of the established relationships. The study focuses, in the first place, the historical-aesthetic displacement that the metaphor has gone through and this contextualization emphasizes, therefore, the transforming action of this figure of speech through which literature and painting interact between themselves by similarity and/or dissimilarity. In this sense, the dialectical relationship proposed constituted by the predominance of the metaphor from its performances in the literary and pictorial discourse and between themselves and, above all, in their movements. This relationship favors the formation of a theoretical framework that aligns the ut pictura poesis of the effects arisen out of the use of the metaphor, which enables ...<br>Resumen: El corpus de esta investigación es los cuentos de Edgar Allan Poe, The Domain of Arnheim or The Landscape Garden, publicada por primera vez en 1847, y Landor's Cottage. A pendant to "The Domain of Arnheim", publicada por primera vez en 1849. Los dos cuentos se agrupan las pinturas de René Magritte que reciben el mismo título del cuento de Poe: The Domain of Arnheim (1938), The Domain of Arnheim (1944), The Domain of Arnheim (1949) y The Domain of Arnheim (1962). La delimitación se materializa a través del análisis de efectos estéticos y de las diversas producciones de significados metafóricos inscritos en las pantallas de René Magritte y los cuentos de Edgar Allan Poe. Para este, el trabajo se presenta un debate que tiene como referencia proceso de interpretación medio atravesado por un historicismo la relación original entre los dos artistas mediante el análisis de textos y otras pantallas que aquellos que, efectivamente, son el objeto de esta investigación. El análisis se basa una red de relaciones en que la base es una metáfora, pensaba en su historicidad, considerado como principio, medio y fin de las relaciones establecidas. Según las estimaciones del estudio, como una prioridad, el desplazamiento historia y estética que la metáfora ha sufrido y esta contextualización se destaca, por lo tanto, a la acción transformadora de esta figura por que la literatura y la pintura interactuar por similitud o disimilitud. En este sentido, la relación dialéctica propuesta se lleva a cabo por un predominio de la metáfora de sus actuaciones en los discursos literarios, pictóricos y entre ellos y, sobre todo, en sus desplazamientos Esta relación favorece la formación de un marco teórico que pueda alinear el ut pictura poesis de los efectos derivados de la utilización de la metáfora, lo que hace que el enfoque más eficaz entre la literatura (Poe) y la ...<br>Doutor

This thesis uses reception theory, as formulated by the late Wolfgang Iser, as well as ideas about interpellation or hailing, to compare and analyze two paintings: The Annunciation (c. 1435) by Roger van der Weyden and Personal Values (1952) by René Magritte. It demonstrates that interpellation and reception are part of the same process, and that reception theory is especially suited to this comparison and analysis-because it allows consideration of ways in which the comparable pictorial structures of both paintings facilitate their intentions. It argues that those intentions are to engage viewers in a dialogue that ultimately is beneficial to both pictures and viewers. Furthermore, based on this shared intent, and on visible structural similarities, it argues that each of the two paintings identifies and receives the other as a picture of the same image-that is, of the Annunciation.

Orientador: Gustavo Henrique Dionisio<br>Resumo: O pintor belga René Magritte provoca nossa subjetividade com uma série de inquietações amparadas na realidade cotidiana. Ele se dedica a encontrar sua resolução pictórica para problemáticas das relações aparentemente banais, mas que apresentam aspectos estranhamente misteriosos. Aqui propomos aproximações entre a obra de Magritte e a Psicanálise, compreendendo as singularidades poéticas e subjetivas do pintor, introduzidas pelo termo emoção estética. Primeiramente, mostramos as diferentes perspectivas do Surrealismo na França e na Bélgica, fazendo uma incursão na vida e obra de Magritte. A seguir, estruturamos uma discussão metodológica para delimitar nosso campo de trabalho. Propomos, desse modo, análises críticas entre as obras de Magritte e as temáticas do Olhar, do Estranhamento e da Representação, adensadas pelo campo da psicanálise em consonância com as reflexões estéticas, com toque da fenomenologia. Por fim, concluímos com uma convergência entre primazia afetiva, na teoria psicanalítica, com as emoções estéticas, propostas por Magritte, constituindo aberturas sensíveis para além do estado de suspensão provocado entre a Arte e os processos de subjetivação.<br>Mestre

Made available in DSpace on 2016-08-10T11:07:16Z (GMT). No. of bitstreams: 1 ROGERIO CAVALCANTE DE MORAIS.pdf: 2888343 bytes, checksum: 703c15350891bd366f004d12d08a2c12 (MD5) Previous issue date: 2016-02-19<br>This thesis aims to establish relationships between different artistic systems involving intertextualities and relations between text and image. We analyze homological procedures between them. Selected texts from different periods, styles and language system. These texts are listed in order to provide readings that can mobilize fruitful way of the senses. The corpus is made up of the stories; "The telltale heart," Edgar Allan Poe, "Love", by Clarice Lispector, and screens; "Luncheon on the Grass" by Édouard Manet, and "Lovers" by René Magritte. We analyze the existing dialogue in the look between the two languages, verbal and plastic-visual. The work is theoretical basis authors dealing with intertextuality as well as analog and homological procedures addressing different systems. We demonstrate how the game looks permeates and immobilizes the form of artistic training.<br>Esta dissertação se propõe a estabelecer relações entre sistemas artísticos distintos envolvendo intertextualidades e relações entre texto e imagem. Analisaremos procedimentos homológicos entre eles. Para isso, selecionamos textos de diferentes épocas, estilos e sistema de linguagem. Esses textos serão relacionados de modo a propiciar leituras que possam mobilizar de maneira profícua os sentidos. O corpus é constituído pelos contos; O coração denunciador , de Edgar Allan Poe, Amor , de Clarice Lispector, e as telas; Almoço na Relva , de Édouard Manet, e Os amantes , de René Magritte. Analisaremos o diálogo existente no olhar entre as duas linguagens, verbal e plástico-visual. O trabalho tem como embasamento teórico, autores que tratam da intertextualidade bem como dos procedimentos analógicos e homológicos abordando sistemas diferentes. Demonstraremos como o jogo de olhares permeia e imobiliza a forma de capacitação artística.

Cette thèse se propose d’étudier le surréalisme bruxellois durant les années 1940, à travers le prisme de l’objet. Les termes d’héritage, de poncif, de génération, d’avant-garde et de scandale en façonnent le cadre. Le poids des événements historiques s’y fait continuellement ressentir. Particulièrement peu unifiées sur le plan politique et artistique, les années 1940 sont synonymes d’intenses turbulences pour le surréalisme, officiellement lancé en 1924. Les jeunes poètes qui entament leur parcours à cette époque sont pratiquement nés au même moment que le mouvement dans lequel ils s’insèrent. La rencontre entre ces surréalistes débutants et un mouvement ayant ses principaux coups d’éclat derrière lui crée une dynamique à laquelle l’énergie de ces années difficiles est en grande partie redevable. Divers phénomènes sont observés : la constitution d’une « deuxième génération » surréaliste, une interrogation sur la pertinence et les moyens d’action du mouvement, des modifications dans les relations avec les surréalistes parisiens. Enfin, l’instabilité politique force chaque membre du mouvement à repenser ses rapports au réel. L’utilisation de l’objet par les surréalistes est intimement liée à ces soubresauts continuels. Suivant un déroulement chronologique, la thèse aborde quatre épisodes de l’histoire du groupe surréaliste bruxellois durant cette décennie, en suivant plus particulièrement le parcours de Marcel Mariën, Christian Dotremont et René Magritte. Elle s’ouvre à la veille de la Seconde Guerre mondiale ; la deuxième partie est consacrée à l’Occupation. La troisième partie étudie l’année 1945 et en particulier une exposition organisée par René Magritte en décembre 1945 et janvier 1946, dans laquelle les objets sont présents en nombre. La quatrième partie se consacre aux dernières années de la décennie. Christian Dotremont quitte le surréalisme via la création du surréalisme-révolutionnaire et de Cobra avant de réaliser une exposition d’objets en été 1949. L'étude de cette décennie dans sa globalité permet plus largement de donner un éclairage inédit sur cette partie de l'histoire du surréalisme.<br>Doctorat en Histoire, histoire de l'art et archéologie<br>info:eu-repo/semantics/nonPublished

碩士<br>臺北市立師範學院<br>視覺藝術研究所<br>92<br>The Belgian painter René Magritte, who applied as a rule the style of trompe l’oeil and juxtaposed the different objects in his paintings, had a designation “painter of hand-painted collages”claimed by another surrealist Max Ernst. This is the early commentary about the issue Magritte’s painting with collages, hence the heterogeneity of the objects of his paintings became not only a surface apprehension, but also an expression of surrealist visual image. Particularly, the reconciliation of opposites between the different images represents the accidental meeting of the sewing machine and umbrella of the poet Comte de Lautréamont from which Surrealism borrowed, and stands for the marvelous beauty of the surrealist leader André Betron’s distant images. Consequently, we talk about the machinism of his image sign as we study Magritte’s paintings. Ignoring the possible meaning on the relation between his paintings and collages makes us treat his image machinism like a closed structural text, and also limits us to explain his paintings of surrealist style since 1925. Therefore, the study will begin with Ernst’s designation, and try to explore the connection between collages and Magritte’s images which were developed since 1925 and established during the Paris period（1927-1930）, including the possible the effects of Giorgio de Chirico, Francis Picabia, and Ernst. I expect the multidimentional survey could bring us to the domain where Dada and Surrealism established their ideas of collages, so as to penetrate the multiformity in Magritte’s paintings.

Tese de mestrado, Educação artística, Universidade de Lisboa, Faculdade de Belas Artes, 2014<br>The interest in this research topic comes from the professional practice of the researcher. As a Visual Arts teacher she acknowledged that plastic experimentation is not followed by activities designed to develop skills of artistic appreciation. Being aware that school and art education in school have an important role in literacy, understood as the ability to encode and decode various forms of representation, intended to contribute to the development of students' autonomy in discerning visual language. After a review of the literature on developmental stages and models of aesthetic interpretation of the works of art, was outlined an action plan that went through the methodological choice of a case study with students from the 9th grade. The main purpose of this research was to design and analyze the results of the implementation of a program of artistic mediation based on a set of procedures that aim to stimulate dialogue about the work of art. For this, we used the works of artists such as Edward Hopper, René Magritte, Edvard Munch, Henri Matisse, Lucian Freud and Martha Telles, organized according to themes. The study concluded that the dynamics of the discussion about the work of art has revealed that the students have a valid knowledge to bring to the group and the interaction between them was a key factor for the construction of a more accurate language. The students were able to develop a structure that give them a wider range of possibilities in future experiments with other works of art. This research recommends the continuation of other studies on the implementation of this program of artistic mediation in other levels of education and / or in other contexts

碩士<br>國立臺灣師範大學<br>美術學系<br>105<br>ABSTRACT 　　The main purpose of this research is to study from the origin of surrealis m, the related theory, the growth background of Dali and Magritte and the evolution of painting style to summarize the relevant data. And to analyze the differences of their performance skills, performance themes, and painting theory. 　　Dali and Magritte are both the painters of surrealism. But their performances are different due to their different growth background, personality and life experience. Dali’s keen on the theory of the Freud’s philosophical theory and to practice the theory on the canvas. Magritte thought that he would only describe the things that he saw and did not want to explore the symbol behind. Magritte is always wearing a clean dress like a doctor and do not like the conspicuous dress. He lives a quiet life with his wife and never makes scandal and farce. Comparing to Dali’s exaggerated, weird, attractiveness and voluptuous life, they have very different life and performance works. And since the significantly difference is existed, I’d like to explore whether if they have in common. And I also want to find out if we could use Freud’s theory to explain both men’s painting works. According to the relevant books and papers, we could see they have some similarities: 1. The common technique of expression: double image, dismantling and reorganizing and material change 2. The common theme of performance: Women, Reinterpreted of famous painting. After studying the painting works of both men’s, we could observe that their commonly used icons are related to the daily living things, such as women, fires, pipes, clocks, hats, trumpets, coffins and apples etc. It’s not surprised if we said Dali is the pursuer of Freudian doctrine. But how about Magritte? He also uses lots of Images. And if we analyze them with Freud's “Interpretation of Dreams”, we could say that they are all related to the sexuality and desire. But Magritte said that his Images are no symbol meanings. Is this a challenge to Freud or just kind of humor? The first part of this thesis is literature study of Dali and Magritte. The main issue is to analyze their creative character and the evolution of painting style, so that we could realize the development and theoretical basis of Surrealism. And we could use these research methods such as Psychoanalysis, Gestalt psychology and Dialectics to analyze their painting works. The second part of this thesis is research analysis and conclusion. I classify their works as the same painting themes and expression techniques. I analyze the unique artistic character of each painting works and find out the relevance of artistic development at that time. And then I do the compilation and comparison. Through this research process, we could not only understand their painting style and characteristics but also realize the impact of their works on modern art and how much influences they give to future generations. And we could affirm the performance and values of their arts. 　　Keywords : Interpretation of Dreams, Reinterpreted of famous paintings, Deformed picture,im

碩士<br>國立臺北藝術大學<br>美術史研究所<br>98<br>Argubly the most significant painting of Surrealist painter Rene Magritte is “La Trahison des images”, dated in 1929-1930. This work sited his realms of interests in the relationship between words and images, as to the discussion of Representation. In the mid-1960’s after Magritte read Michel Foucault’s famous “Les Mots et les choses”, they exchanged letters for defining the issues “resemblance”,”similitude”and”representation”. Then Foucault published a book “Ceci n’est pas une pipe” in 1973 which brought at the apogee of these issues. The range of discourse for Magritte’s painting is thus enlarged, in the key themes achieved a heightened clarity, especially in the realms of Surrealism and Conceptualism.

碩士<br>臺南藝術學院<br>藝術史與藝術評論研究所<br>89<br>Abstract This thesis, The Counter(-)point of Perspectives: Toward a Semiotic Poetics of Collage-Like Images by Giorgio de Chirico and Rene Magritte, is based on the broad sense of perspective as “ways of seeing,” taking Chirico and Magritte’s paintings as examples, for investigating of “counter-point” and “counterpoint” as collage’s aesthetic texture. Today “collage” is so deeply involved in our daily life that it goes far beyond its original meaning of glue-attached-collage. By juxtaposing contradictions, the magic of collage enlightens almost all kinds of media. “The discontinuity of logic” and “metonymic representation” are its main characters. The poetic juxtaposition of things-not-in-the-same-context in Chirico’s pictures inspires many artists, and Magritte is one of them. Max Ernst even took Magritte’s pictures as “hand-painted collage.” In order to investigate the poetic function of those collages, we take Roman Jakobson’s famous poetics as our methodology. Jakobson inherits Ferdinand de Saussure’s linguistic theory of “two axis of signification,” claiming that “The poetic function projects the principle of equivalence from the axis of selection into the axis of combination. Equivalence is promoted to the constitutive device of the sequence.” Inspired by Jakobsonian theory, Ernst Gombrich once mentioned the equivalence between mock portraiture and the real person; however, he did not go further. Therefore, here we take Chirico’s and Magritte’s pictures as examples to see more aspects of equivalent relations in collage. “Equivalence” actually contains parallels and contrasts in all aspects of art works. Sergei Eisenstein claims that “montage is conflict” to be achieved through the “counterpoint of sound and image.” Yet, the “counterpoint” which Eisenstein defines here is not what it means in musicology; rather, it focuses on its literal meaning. Therefore, here we rename it “counter-point.” The term “counterpoint” we use here presents plural aspects of things, just as it combines several lines of melody in the same piece of music. Moreover, this repetition and variation could go beyond the frame, intertext and dialogue with other works of art, either works by the same artist or those of the art history. Or it could even be so self-conscious as to be like “meta-painting.” We use some graphs to illustrate how the statements evolve. Finally, we demonstrate a 3-dimensional-and-3-colored co-ordinate system to make a visual interpretation of the principle of equivalence─in this model the primary color stands as the three axes, and the unique value of different position in this system represents as the unique proportion of color mixture, which reflects the degree to which each axis involves itself.

Rene Magritte, Surrealist painter, represented women in segmented forms. He enclosed portions of female anatomy in frames and painted representations of broken, sculpted torsos. In this he was inspired by the example of de Chirico's poetic painting, Rodin's use of partial forms to represent whole beings, and by collage concepts involving the dissolution and reconstruction of images. Although Magritte's nudes were undeniably erotic, his ultimate conclusion seems to be that the mystery of woman is beyond the power of art's representation. Framing and fragmentation, as represented in two paintings from the Menil Collection and numerous related works, reinforce the idea that in Magritte's work art and reality were never intended to coincide.

This research thesis, Do you Like My Pics, investigates perceived value in art through the recreation of well-known paintings. Using photography and photo-manipulation the content of the image has been recreated in another medium in order to dissociate the tangible, actual image from the aura of the artist who created it.