Latest news with #Magritte
Vogue
20-06-2025
- Entertainment
- Vogue
Gallerist Daniella Luxembourg on René Magritte's Phantom Landscapes
Luxembourg + Co., a tony gallery that's been putting on museum-like shows in New York and London since 2011, has outdone itself in their 57th Street space in Manhattan. The Luxembourg part is a powerful mother-daughter team—Daniella and her daughter Alma—and this time, they're introducing us to the idea of Magritte as a landscape painter. 'René Magritte: The Phantom Landscape' (through July 12) asks us to put aside pipes, bowler hats, green apples, and clouds when we think of the Belgian Surrealist painter, and to consider Magritte as a landscape artist of a different kind—one for which landscape and psychology and fantasy and emotion all play in the same sandbox. (When I tell George Condo about the show, he says: 'Nice angle on Magritte. Nobody ever zooms in on that.') René Magritte with his wife, Georgette Berger, circa 1937. Daniella Luxembourg, one of the most innovative and far-sighted dealers-slash-art advisors working, is also a top-notch collector. When in New York, she lives in Pierre Matisse's house on the Upper East Side (she bought it in 2001), and a couple of weeks ago she sold 15 of her important works installed there—works by the likes of Lucio Fontana, Alberto Burri, Michelangelo Pistoletto, Alexander Calder, Claes Oldenburg, and other post-war masters—at Sotheby's in New York. Bare walls, not a problem: She's already brought in paintings by Domenico Gnoli, another Fontana, and two kinetic sculptures from the '50s by Jean Tinguely, all from her vast private collection, to replace them. Born in Lódz, a city in central Poland known for its great number of palaces and villas and its National Film School (Roman Polanski went there), Luxembourg is a tastemaker who challenges convention. After moving to Israel when she was only a few months old, she grew up in Haifa, studied the history of art (with a focus on early medieval Jewish art), and started at Sotheby's in Tel Aviv in 1984, when she was in her early 30s. Then, in 1989, she left the auction house to found the Jewish Museum of Vienna. She looks at art as an intellectual but presents it so everybody can see it in ways we perhaps hadn't thought of before. In 'The Phantom Landscape,' 14 well-curated works, most of them little known, tell a three-part story, divided into three rooms. The first, 'Frames of Reference,' looks at views outdoors through some kind of a frame. The second room, 'The Sky is the Limit,' is all sky. And the third room, 'A Human Landscape,' features work that uses the human body and the world around it, or 'the morphing of human bodies and natural elements into one another.' In the airy, sixth-floor space, Luxembourg walked me through the show a few weeks ago.
The Age
18-06-2025
- The Age
When it comes to eating overseas, forget what's new. Go for what's old
This article is part of Traveller's Holiday Guide to bucket-list places to eat. See all stories. After a lifetime of chasing the newest hotels, hottest restaurants and latest food trends all over the world, I've changed my mind. Maybe it's just my age and stage in life, but I'm starting to place a new value on all things old. On a recent eating holiday in Brussels, I relinquished my obsessive need for the shiny and new, and instead spent time researching and discovering the old, the classic, the historic and the tried-and-true. It's quite the switcheroo, to ask 'what's old?' but Brussels is the perfect city in which to celebrate old-school cool. Suddenly, I was sitting at a dark, heavy, wooden table in a Belle Epoque dining room at La Roue d'Or, which opened in 1882; its muralled walls painted in homage to Magritte. The menu lists real Flemish and Belgian food, not just mussels and frites for the tourists; things like carbonnade (beef and onion stew, cooked in beer), and stoemp (carrot and potato or swede mash). The waiters are old, and have seen it all, but still bustle about carrying heavy trays that must kill their knees. Many of the tables carry a small brass plaque of the names of regular diners, just in case someone else imagines they can sit there. Lunch was at the legendary beer hall, La Mort Subite, now a classified historic monument. It's cheap, wonderful, and opens a window to a culture that has been brewing beer for a thousand years, and knows instinctively what goes well with it. That turns out to be big trays of cold meats and cheeses, and tartines of jellied tête pressée (basically braised and pressed calf's head, smashed onto a baguette). The oldest restaurant in the world, according to the Guinness Book of Records (which may or may not be correct) is Sobrino de Botin, or Casa Botin, in Madrid, which dates to 1725. It's a very old-fashioned, beautiful, lace-curtained, tiled restaurant that, these days, is full of tourists. But never mind because it is also full of cool, summery gazpacho, served at the table, and the kitchen is aglow from the huge medieval oven; every shelf around it lined with young pigs in terracotta dishes. Terrifying, but compelling. London is filled with exciting new restaurants, but, oh, give me the old ones. Like the 138-year-old Sweetings in the City, for terribly English potted shrimps and skate wing and bacon, with puddings of spotted dick or steamed jam roll. It's lunch-only, with no reservations, but happiness is getting a seat at the mahogany counter, nursing a half-pint of Black Velvet, made with Guinness and French champagne.
Sydney Morning Herald
18-06-2025
- Sydney Morning Herald
When it comes to eating overseas, forget what's new. Go for what's old
This article is part of Traveller's Holiday Guide to bucket-list places to eat. See all stories. After a lifetime of chasing the newest hotels, hottest restaurants and latest food trends all over the world, I've changed my mind. Maybe it's just my age and stage in life, but I'm starting to place a new value on all things old. On a recent eating holiday in Brussels, I relinquished my obsessive need for the shiny and new, and instead spent time researching and discovering the old, the classic, the historic and the tried-and-true. It's quite the switcheroo, to ask 'what's old?' but Brussels is the perfect city in which to celebrate old-school cool. Suddenly, I was sitting at a dark, heavy, wooden table in a Belle Epoque dining room at La Roue d'Or, which opened in 1882; its muralled walls painted in homage to Magritte. The menu lists real Flemish and Belgian food, not just mussels and frites for the tourists; things like carbonnade (beef and onion stew, cooked in beer), and stoemp (carrot and potato or swede mash). The waiters are old, and have seen it all, but still bustle about carrying heavy trays that must kill their knees. Many of the tables carry a small brass plaque of the names of regular diners, just in case someone else imagines they can sit there. Lunch was at the legendary beer hall, La Mort Subite, now a classified historic monument. It's cheap, wonderful, and opens a window to a culture that has been brewing beer for a thousand years, and knows instinctively what goes well with it. That turns out to be big trays of cold meats and cheeses, and tartines of jellied tête pressée (basically braised and pressed calf's head, smashed onto a baguette). The oldest restaurant in the world, according to the Guinness Book of Records (which may or may not be correct) is Sobrino de Botin, or Casa Botin, in Madrid, which dates to 1725. It's a very old-fashioned, beautiful, lace-curtained, tiled restaurant that, these days, is full of tourists. But never mind because it is also full of cool, summery gazpacho, served at the table, and the kitchen is aglow from the huge medieval oven; every shelf around it lined with young pigs in terracotta dishes. Terrifying, but compelling. London is filled with exciting new restaurants, but, oh, give me the old ones. Like the 138-year-old Sweetings in the City, for terribly English potted shrimps and skate wing and bacon, with puddings of spotted dick or steamed jam roll. It's lunch-only, with no reservations, but happiness is getting a seat at the mahogany counter, nursing a half-pint of Black Velvet, made with Guinness and French champagne.
Vogue
05-06-2025
- Entertainment
- Vogue
Daniella Luxembourg on René Magirtte's Phantom Landscapes
Luxembourg + Co., a tony gallery that's been putting on museum-like shows in New York and London since 2011, has outdone itself in their 57th Street space in Manhattan. The Luxembourg part is a powerful mother-daughter team—Daniella and her daughter Alma—and this time, they're introducing us to the idea of Magritte as a landscape painter. 'René Magritte: The Phantom Landscape' (through July 12) asks us to put aside pipes, bowler hats, green apples, and clouds when we think of the Belgian Surrealist painter, and to consider Magritte as a landscape artist of a different kind—one for which landscape and psychology and fantasy and emotion all play in the same sandbox. (When I tell George Condo about the show, he says: 'Nice angle on Magritte. Nobody ever zooms in on that.') René Magritte with his wife, Georgette Berger, circa 1937. Daniella Luxembourg, one of the most innovative and far-sighted dealers-slash-art advisors working, is also a top-notch collector. When in New York, she lives in Pierre Matisse's house on the Upper East Side (she bought it in 2001), and a couple of weeks ago she sold 15 of her important works installed there—works by the likes of Lucio Fontana, Alberto Burri, Michelangelo Pistoletto, Alexander Calder, Claes Oldenburg, and other post-war masters—at Sotheby's in New York. Bare walls, not a problem: She's already brought in paintings by Domenico Gnoli, another Fontana, and two kinetic sculptures from the '50s by Jean Tinguely, all from her vast private collection, to replace them. Born in Lódz, a city in central Poland known for its great number of palaces and villas and its National Film School (Roman Polanski went there), Luxembourg is a tastemaker who challenges convention. After moving to Israel when she was only a few months old, she grew up in Haifa, studied the history of art (with a focus on early medieval Jewish art), and started at Sotheby's in Tel Aviv in 1984, when she was in her early 30s. Then, in 1989, she left the auction house to found the Jewish Museum of Vienna. She looks at art as an intellectual but presents it so everybody can see it in ways we perhaps hadn't thought of before. In 'The Phantom Landscape,' 14 well-curated works, most of them little known, tell a three-part story, divided into three rooms. The first, 'Frames of Reference,' looks at views outdoors through some kind of a frame. The second room, 'The Sky is the Limit,' is all sky. And the third room, 'A Human Landscape,' features work that uses the human body and the world around it, or 'the morphing of human bodies and natural elements into one another.' In the airy, sixth-floor space, Luxembourg walked me through the show a few weeks ago.
Time of India
04-06-2025
- Entertainment
- Time of India
NYT Connections Hints June 4: Solve today's thoughtful puzzle #724 with these clues and answers
After the massive success of Wordle, The New York Times launched another engaging puzzle game called Connections. In this word association challenge, players are tasked with grouping 16 seemingly unrelated words into four distinct thematic sets. Tired of too many ads? Remove Ads What is NYT Connections? Connections Hint June 4, 2025: Today's Categories Tired of too many ads? Remove Ads Yellow Category – Common elements in music structure – Common elements in music structure Green Category – Noisy ways to show encouragement – Noisy ways to show encouragement Blue Category – Items typically found near a home's entrance – Items typically found near a home's entrance Purple Category – Symbolic objects in the surreal art of René Magritte Connections Categories for June 4 Yellow: Parts of a Song Parts of a Song Green: Support Audibly Support Audibly Blue: Things in an Entryway Things in an Entryway Purple: Imagery in Magritte Paintings Connections Answers for June 4, 2025 Parts of a Song: Bridge, Chorus, Hook, Refrain Support Audibly: Cheer, Clap, Root, Whistle Things in an Entryway: Bench, Coat Rack, Console, Runner Imagery in Magritte Paintings: Apple, Bowler, Cloud, Pipe Strategy Tips for NYT Connections Keep it simple: Often, words are connected by surface-level meanings or sounds, not obscure references. Limit random guesses: Only four attempts are allowed per game. Weigh word choices carefully before selecting. Shuffle strategically: The shuffle button rearranges the words and can help you see new groupings. FAQs What is NYT Connections? Where can I play NYT Connections? For puzzle enthusiasts glued to The New York Times' daily word challenges, Connections has quickly established itself as a thinking person's pastime. If today's grid—game #724 — left you puzzled, fret not. Here are the comprehensive NYT Connections hints for June 4 to guide players through today's themes and the immense popularity of Wordle, The New York Times introduced Connections, a word association game that requires players to identify links among 16 seemingly unrelated words. These must be grouped into four thematic categories of four words each, with each category marked by increasing difficulty — Yellow (easy), Green (moderate), Blue (challenging), and Purple (tricky). Connections June 4 is no different, offering a tricky blend of pop culture, visual art, and everyday objects. The game can be played for free across mobile and desktop game's challenge lies not just in vocabulary but in interpreting how words relate to one assist those stuck on the grid, the following category clues may prove helpful, as per a report by Beebom:These prompts offer players directional hints to better understand the that in mind, today's complete category titles are as follows:The NYT Connections June 4 reveal a puzzle that blends auditory elements, spatial awareness, and artistic references, making for a well-rounded and thoughtful the puzzle remained unsolved despite best efforts, here are the correct word groupings for Connections June 4, as mentioned in a report by Beebom:The Purple category, referencing Magritte's surrealistic imagery, stood out as the most abstract and possibly the trickiest for players unfamiliar with the Belgian artist's iconic in Connections depends not just on vocabulary but on pattern recognition. Players are advised to:As the Connections June 4 puzzle demonstrated, themes can cut across genres — from pop music to visual art — making the game a daily challenge of wit and is a word association puzzle game by The New York Times, following the success of Wordle. Players are given 16 words and must group them into four categories of related terms, each color-coded by game is available for free on The New York Times website and is playable across desktop and mobile platforms.
