勒內．馬格利特

威利．范．侯夫，比利時
透過伊瑟．布拉秀特畫廊於1968年12月18日購自上述人士，迄今仍由後人收藏

「馬格利特：150件雕塑作品世界首展」，布魯塞爾，伊瑟．布拉秀特畫廊，1968年，品號147
「勒內．馬格利特回顧展」，東京，國立近代美術館與京都，京都國立近代美術館，1971年，品號88，圖錄附圖版
「勒內．馬格利特」，瑞士洛桑，艾米塔吉基金會， 1987年，品號69，圖錄附彩色圖版
「勒內．馬格利特」，慕尼黑，文化基金會美術館 ，1987-88年，品號78，圖錄附彩色圖版

〈雷內．馬格利特專號〉，《比利時藝術》月刊，布魯塞爾，1968年1月號，圖版頁69
大衛．席維斯特爾，莎拉．懷特菲爾德與麥克．瑞伊彭恩，《雷內．馬格利特專題目錄》，第4冊， 倫敦，1994年， 品號1293，圖版頁120

Excellent condition. Gouache on card laid down on board. Three pinhole sized abrasions are visible on the extreme left edge. One 3/16 inch hairline of discoloration is visible at the lower left corner.
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The compelling imagery of Marine echoes Magritte's sculpture from 1945, La Peinture. Magritte owned a plaster cast of this subject which he would transform into the 1945 sculpture (fig. 1). While he painted the sculpture in flesh tones, Magritte depcits a tranquil seascape to alter the significance of the female form in this gouache from 1948.

Though the female nude figures prominently in Magritte's oeuvre, this motif becomes a dominant focus for him in the 1940s. As in the current work, his imagery of this period finds a harmony in the confluence of the female form and a sun-filled landscape. The classical nude form, intimated in Marine by the figure's resemblance to a Greco-Roman relic, is at once the subject and the backdrop in these works. Jacques Meuris points out, "Magritte said, in fact, that an undercurrent of eroticism was one of the reasons a painting might have for existing. It asserted itself most intensely and explicitly in these stately classical nudes with their cool coloring. For the very reason that it aims at maximum resemblance, their academicism is upset by the provocation of mystery emanating from that identification, once the painting and the arrangement of the painting interfere with its course" (J. Meuris, René Magritte, London, 1988, p. 76).

According to David Sylvester's catalogue raisonné on the artist, this work was signed Magritte, dated 1948 and titled on the verso by the artist in either 1966 or 1967 though this inscription is now obscured by museum exhibition labels.