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Combining some of Magritte’s best-known motifs, Les Nouvelles années exemplifies his ongoing engagement with the Surrealist interrogation and transformation of the object. The iconography of a large leaf has its origin in Magritte’s hybrid tree-leaf which first appeared in the 1935 oil titled La Géante and would recur in his painting over the following decades in a variety of different contexts. In a letter to André Breton of July 1934, in which he wrote about paintings he was developing as ‘solutions’ to various ‘problems’, Magritte commented about the problem of the tree: ‘I am trying at the moment to discover what it is in a tree that belongs to it specifically but which would run counter to our concept of a tree.’ He soon found the answer to this question in the image of the tree-leaf: ‘the tree, as the subject of a problem, became a large leaf the stem of which was a trunk directly planted in the ground.’

New Years (Les Nouvelles années)– René Magritte Painting – Surrealist Art Painting

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New Years (Les Nouvelles années)– René Magritte Painting – Surrealist Art Painting Canvas Print
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New Years (Les Nouvelles années)– René Magritte Painting – Surrealist Art Painting Canvas Framed Print
Framed • 18x14 inches

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New Years (Les Nouvelles années)– René Magritte Painting – Surrealist Art Painting Canvas Framed Print
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New Years (Les Nouvelles années)– René Magritte Painting – Surrealist Art Painting Framed Print
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Combining some of Magritte’s best-known motifs, Les Nouvelles années exemplifies his ongoing engagement with the Surrealist interrogation and transformation of the object. The iconography of a large leaf has its origin in Magritte’s hybrid tree-leaf which first appeared in the 1935 oil titled La Géante and would recur in his painting over the following decades in a variety of different contexts. In a letter to André Breton of July 1934, in which he wrote about paintings he was developing as ‘solutions’ to various ‘problems’, Magritte commented about the problem of the tree: ‘I am trying at the moment to discover what it is in a tree that belongs to it specifically but which would run counter to our concept of a tree.’ He soon found the answer to this question in the image of the tree-leaf: ‘the tree, as the subject of a problem, became a large leaf the stem of which was a trunk directly planted in the ground.’

The most celebrated Belgian artist of the twentieth century, Rene Magritte has achieved great popular acclaim for his idiosyncratic approach to Surrealism. His imagery has influenced pop, minimalist and conceptual art.   The illustrative quality of Magritte's pictures often results in a powerful paradox: images that are witty and beautiful in their clarity and simplicity, but which also provoke unsettling thoughts. They seem to declare that they hide no mystery, and yet they are also marvellously strange.


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