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The Lovers (French: Les Amants (French pronunciation: [lez‿amɑ̃])) is a surrealist painting by René Magritte, made in Paris in 1928. It's the first in a series of four variations, and in the painting two people can be seen kissing passionately with their faces covered in a white cloth hiding their identities.
René François Ghislain Magritte (French: [ʁəne fʁɑ̃swa ɡilɛ̃ maɡʁit]; 21 November 1898 – 15 August 1967) was a Belgian surrealist artist known for his depictions of familiar objects in unfamiliar, unexpected contexts, which often provoked questions about the nature and boundaries of reality and representation. [1]
The Lovers [41] 1928 The Museum of Modern Art; Gift of Richard S. Zeisler Oil on canvas 54 x 73.4 cm Literal Meaning II [42] 1929 Menil Collection (Houston. Tex.) Oil on canvas 73 x 54 cm Literal Meaning IV [43] 1929 Oil on canvas 73 x 54 cm Literal Meaning VI [44] 1929 Oil on canvas 54 x 73 cm The Treason of Images (This is not a Pipe) [45] 1929
File:Magritte TheSonOfMan.jpg File:Magritte, The adulation of space, l'eloge de l'espace, 1927-28.jpg File:Magritte, The Palace of Memories, Le palais des souvenirs, 1939.jpg
Poe was one of Magritte's favorite authors and he made other references to the author in his work. For example, the title of the 1938 painting The Domain of Arnheim was taken from the 1847 Poe short story of the same name. [5] Magritte painted another portrait of Edward James titled The Pleasure Principle (1937). It depicts James from the front ...
The Lovers, a 1950s R&B duo of Tarheel Slim and Little Ann; The Lovers or the title song, by the Legendary Pink Dots, 1984 "The Lovers" (Alexander O'Neal song), 1988 "The Lovers", a song by Nine Inch Nails from Add Violence, 2017; The Lovers, a 2022 Australian musical theatre adaptation of A Midsummer Night's Dream
“Wait for the man who randomly tears up because he’s so in love," Madison Perrott wrote alongside the sweet clip of her boyfriend of over a year
a witty tribute to Magritte's work and a haunting visual interpretation of Simon's music and lyrics. A photograph of the Magrittes serves as the point of departure for both the song and images, as Logue employs video effects to technologically echo and transform the eerie resonances of the surreal imagery of Magritte's paintings. [12]