This original lithograph is signed on the stone lower right Magritte, and titled on the stone lower left. It is a fine impression of the definitive state, from the edition of approximately 2000 issued in the review XXe Siècle, No. 22, Christmas, 1963 (there were 75 additional hand-signed and numbered impressions, 20 impressions designated “hors commerce,” and one known artist’s proof). Published by G. di San Lazarro, Chroniques du Jour, Paris; printed at Atelier Fernand Mourlot, Paris. Catalogue raisonné reference: Kaplan/Baum 3. The enigma of Magritte's art, and at the same time its essence, is the way that his imagery challenges our preconceived and comfortable everyday notions. Stimulated by his introduction to the art of De Chirico in 1922 he wanted to show how reality and non-reality exist side-by-side in our minds. By using almost totally realistic depictions of everyday objects, but with a sudden element of the unexpected and illogical in setting or in juxtaposition, he stimulates us to move from normality into the subconscious world of the dream. The titles of Magritte's works are often random and seemingly unconnected with the imagery. He disliked titles, and would sometimes ask friends to think up titles and apply them at random to previously untitled works.
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