Not to be Reproduced - Rene Magritte
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A classic Surrealist work by Rene Magritte, depicting a man whose reflection in a mirror defies the laws of optics.
Painted in 1937, Not to be Reproduced is a quintessential work by the Belgian Surrealist Rene Magritte. The composition depicts a man standing before a mirror, yet the reflection fails to replicate the reality of the subject. While the man is viewed from behind, his reflection also shows his back, rather than his face. This subversion of optical logic is a hallmark of Magritte's practice, which often questioned the relationship between objects, their representations, and the viewer's perception.
The subject of the painting is Edward James, a British poet and a significant patron of the Surrealist movement. James commissioned the work for his London home. On the mantelpiece, a copy of Edgar Allan Poe's The Narrative of Arthur Gordon Pym of Nantucket is visible. The book's reflection, however, appears correctly oriented, which creates a jarring contrast with the distorted reflection of the man. This detail draws attention to the deliberate nature of the visual anomaly.
Magritte employs a clean, precise technique that mimics the style of commercial illustration. This approach allows the absurdity of the subject matter to take precedence over painterly gesture. By removing the expected visual cues of a mirror reflection, the artist forces the viewer to confront the limitations of sight and the instability of identity. The muted colour palette and the stillness of the scene contribute to an atmosphere of quiet unease. The work remains a primary example of how Magritte used mundane settings to explore philosophical inquiries regarding the nature of reality and the act of looking.
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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
Not to be Reproduced - Rene 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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