Poster of International Festival of Cinema and Fine Arts in Brussels - René Magritte
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Description
A 1947 exhibition poster by René Magritte, featuring his signature surrealist style with a classical face partially obscured by a blank rectangular void.
This lithographic poster, created by René Magritte in 1947, advertises the International Festival of Cinema and Fine Arts held in Brussels. The composition reflects the artist's characteristic approach to visual displacement and the uncanny. A central, monochromatic blue face, reminiscent of classical sculpture, occupies the lower portion of the frame. The upper part of the head is replaced by a blank, rectangular space, a device Magritte frequently employed to disrupt the viewer's expectation of a complete human form. This void suggests a screen or a frame, aligning with the cinematic theme of the festival. The figure is flanked by vertical red curtains, which provide a theatrical frame for the central image. The colour palette is restrained, relying on the contrast between the deep blue of the face, the warm beige of the background, and the saturated red of the drapes. Below the image, the text clearly states the event details in a bold, sans-serif typeface, maintaining the functional requirements of a promotional poster while adhering to the artist's aesthetic language. Magritte's work often questioned the relationship between objects and their representations. In this instance, the poster functions as both a commercial announcement and an extension of his surrealist practice. By presenting a face that is simultaneously present and absent, Magritte invites the viewer to consider the nature of perception. The work remains a clear example of how the artist applied his conceptual rigour to the medium of graphic design, ensuring that even a temporary promotional piece retained the intellectual weight of his gallery paintings. The clean lines and deliberate composition demonstrate his mastery of visual communication, balancing the demands of advertising with his own artistic inquiry.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Poster of International Festival of Cinema and Fine Arts in Brussels - René Magritte
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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
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Artist Biography
René 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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