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The Music Lesson Or The Sound Of The Bell by Rene Magritte

The Music Lesson Or The Sound Of The Bell by Rene Magritte

Gilden's Art Gallery (IFPDA)



Edition Size: 150

Sheet Size: 27.8x22 cm


Condition: Pristine

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Lessines, Belgium 1898 – Bruxelles 1967 (Belgian)

Title: The Music Lesson or The Sound of the Bell / La Lecon de Musique or Son de Cloche,1968

Techique: Stamped Signed and Numbered Etching and Aquatint in Colours on BFK Rives paper

Paper Size: 27.8 x 22 cm / 11 x 8.7 in

Image Size: 15.2 x 10.3 cm / 6 x 4.1 in

Additional information: This Aquatint is stamped signed “Magritte” with the artist’s stamp-signature in the lower right margin.
It is hand numbered in pencil “72/150” in the lower left margin.
The paper bears the ‘Atelier René Magritte’ dry stamp in the lower right corner of the paper.
The paper also bears the BFK Rives watermark.
It is plate III (of three) of a series created to accompany the book of poems by Guy Rosey titled “Signe de Survie au Temps d’Amour” (Evidence of Survival in Times of Love).
It was printed by Georges Visat based on original colour sketch by the artist, at the Atelier Gorges Visat, Paris in 1968.
It was published by Editions Georges Visat, Paris in a limited edition of 150 impressions. A further 150 impressions were realised on Japan paper.

Literature: Kaplan, Gilbert E. & Timothy Baum, 1982. The Graphic Work of RENE MAGRITTE. New York: II Editions
Reference: Kaplan and Baum 15

Condition: Excellent condition. Light creasing and time staining on right margin.

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The Artist

Rene Magritte

Rene Magritte was a Belgian surrealist artist, who sought to create work that challenged people’s perceptions of the everyday. He belonged to the Surrealist movement, which began in 1920’s Paris and made its way across the world over several decades. Congruent with the exploration of the unconscious mind, as uncovered in the avant-garde movement, Magritte experimented with portraying the dreamlike state. Working with oil paint on canvas, he painted in an illustrative style. However, his central focus was with the subject of the painting, rather than its realism.

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