The Symmetrical Trick - René Magritte
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Beschreibung
A classic Surrealist composition by René Magritte, featuring a central torso flanked by two shrouded forms, exploring themes of symmetry and the uncanny.
René Magritte, a central figure in the Belgian Surrealist movement, often employed ordinary objects to disrupt the viewer's perception of reality. In 'The Symmetrical Trick' (1937), he presents a composition that balances the human form with draped, cloth-like shapes. The central figure, a torso partially obscured by fabric, sits between two identical, shrouded forms. This arrangement creates a visual rhythm that plays with the concept of symmetry, a common theme in Magritte's work.
The painting features a dark, austere background that pushes the subjects forward, forcing an encounter with the uncanny nature of the scene. Magritte's technique is precise and clean, avoiding painterly gestures to maintain a sense of objective detachment. The fabric, rendered with soft folds and subtle highlights, contrasts with the solid, flesh-toned torso. By concealing parts of the anatomy while revealing others, Magritte invites the viewer to question the identity and purpose of the figures. The work avoids narrative clarity, instead focusing on the tension between what is visible and what is hidden. This piece is characteristic of his approach to painting, where the familiar becomes strange through displacement and unexpected juxtaposition. The composition remains balanced, yet the subject matter creates a sense of unease, typical of the Surrealist desire to explore the subconscious mind through visual paradoxes.
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Jeder Druck wird auf Bestellung im 12-Farben-Giclée-Druckverfahren auf FSC-zertifiziertem Archivpapier hergestellt. Entworfen in Großbritannien und gedruckt in Ihrem nächstgelegenen Produktionszentrum, um Abfall zu reduzieren und die Lieferung zu beschleunigen.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
The Symmetrical Trick - René Magritte
Artist Biography
Rene Magritte
He grew up in Lessines, Belgium. His mother drowned herself in the River Sambre when he was thirteen; her body was found with her nightdress wrapped around her face. Whether this explains the recurring covered faces in his paintings is a question biographers have insisted on and Magritte consistently refused to answer.
He studied at the Academie Royale des Beaux-Arts in Brussels and spent several years working as a commercial artist and wallpaper designer. The commercial work is relevant: his painting technique is deliberately flat, illustrative, and impersonal. There are no visible brushstrokes, no evidence of struggle. The surfaces look like advertisements for impossible things. He painted in a small room in his house, wearing a suit, with his easel next to the living room furniture.
He was a Surrealist but not the Parisian variety. He disliked Breton's intellectualising and preferred to work from home in Brussels. His version of Surrealism was cooler and more logical: ordinary objects placed in wrong contexts, familiar things made strange through simple displacement. A rock floating in the sky. An apple covering a face. A train emerging from a fireplace. Each painting poses a single visual problem and leaves you to solve it.
He made relatively few paintings compared to his contemporaries. Each one is self-contained. He did not develop through phases or wrestle with form. He found his approach early and refined it quietly for decades.
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