The Voice of Space - René Magritte
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Description
A seminal Surrealist work by René Magritte, featuring three mysterious, floating spheres suspended above a quiet, open horizon.
René Magritte painted The Voice of Space in 1931, a period when he began to explore the juxtaposition of ordinary objects against vast, open skies. The composition features three large, spherical forms suspended in the air above a low-lying horizon. These spheres, often described as bells, possess a metallic or stone-like texture, each marked by a horizontal line that suggests a seam or a division.
Magritte employs a precise, almost academic technique to render these impossible objects. The clarity of the brushwork contrasts with the irrational nature of the subject matter. By placing these heavy, solid forms in a weightless state, he disrupts the viewer's expectation of physical reality. The blue sky occupies the majority of the canvas, creating a sense of immense scale that makes the floating spheres appear even more alien.
This work is characteristic of the artist's interest in the relationship between objects and their environment. He frequently used the motif of floating spheres in his later career, yet this early iteration remains one of his most recognisable images. The ground below is rendered with minimal detail, serving only to provide a sense of scale and to anchor the viewer in a recognisable, if desolate, world. Magritte avoids complex narratives, preferring to present a visual paradox that invites contemplation rather than offering a singular explanation. The painting is currently held in the collection of the Peggy Guggenheim Collection in Venice, where it continues to be studied for its contribution to the development of European Surrealism.
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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.
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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
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- 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
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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
The Voice of Space - René 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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