A Taste of the Invisible - René Magritte
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Beskrivning
A surrealist composition by René Magritte featuring abstract forms and atmospheric voids that challenge conventional perception.
René Magritte, a central figure of the Belgian Surrealist movement, produced A Taste of the Invisible in 1927. This period marked his initial foray into the surrealist aesthetic, following his move to the outskirts of Paris. The work displays the characteristic subversion of reality that defined his career. Magritte often employed familiar objects in unfamiliar contexts to question the nature of perception.
The composition features two large, white, vertical forms that resemble torn paper or architectural voids. These shapes frame a dark, atmospheric background. Dark, cloud-like masses float across the scene, obscuring parts of the background and creating a sense of spatial ambiguity. In the foreground, a singular, dark, organic shape sits centrally, containing hints of warm, fiery tones. This figure appears to be a distorted or abstracted representation, typical of Magritte's interest in the hidden nature of objects.
Magritte used a muted palette, relying on deep blues, browns, and blacks to establish a somber, dreamlike mood. The contrast between the stark white voids and the surrounding darkness creates a tension that draws the viewer into the scene. The painting avoids traditional perspective, opting for a flattened, stage-like arrangement that emphasises the artificiality of the image. By titling the work A Taste of the Invisible, Magritte invites the viewer to consider what lies beyond the visible surface of the canvas. The work does not attempt to represent a physical reality, but rather a conceptual one, where the relationship between the object and its name is intentionally fractured. This piece remains a clear example of Magritte's early exploration of the limits of visual representation and his desire to make the ordinary appear strange.
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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
A Taste of the Invisible - 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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