6. 6AR JANE GRAVEROL (1905-1984) Le bon bout de la raison signed 'Jane Graverol' (lower right); signed and dated 'Jane Graverol 1962' (reverse) oil on canvas Painted in 1962 signed 'Jane Graverol' (lower right) ; signed and dated 'Jane Graverol 1962' (on reverse) oil on canvas Painted in 1962 65 x 81 cm. 25 9/16 x 31 7/8 in. This work will be included in the catalogue raisonné currently being prepared by the Marcel Mariën Foundation. Provenance Collection of Madame Renée Miesse, Brussels. Private collection, Belgium. Exhibition Brussels, Galerie Isy Brachot, Jane Graverol, 40 ans de peinture, 31 May - 24 June 1968, no. 78. Bibliography R. de Solier, Jane Graverol, Brussels, 1974, illustrated p. 14. Marcel Mariën, Les lèvres nues, no. 1, January 1969, illustrated np. Jane Graverol was a leading figure in the Belgian Surrealist movement, which she officially joined in 1940. Her influence within the group was considerable, as demonstrated by her major role in the creation of two magazines emblematic of the movement: Temps mêlés in 1952 and Les Lèvres Nues in 1954. The latter, co-founded by Marcel Mariën, presented literary, poetic and artistic works, as well as philosophical essays. The content was characterised by its provocative, experimental and subversive nature, pushing back the boundaries of artistic expression and advocating non-conformist Surrealist ideas. Prominent Surrealists such as Paul Nougé, Louis Scutenaire, Irène Hamoir, Christian Bussy and Guy Debord contributed to the magazine. Richly illustrated, Les lèvres Nues features reproductions of works by a wide range of artists (Marcel Mariën, René Magritte, Leo Dohmen, Paul Colinet, Victor Brauner and Valentine Hugo), including a particularly large number by Jane Graverol. As a significant example, the painting Le bon bout de la raison was illustrated in the first issue of 1969, after having been exhibited at the illustrious Galerie Isy Brachot in 1968. It was also reproduced in René de Solier's 1974 reference work. This highly referenced work bears witness to its importance in Jane Graverol's artistic body of work. Jane Graverol's attachment to the animal world is central to her history and iconography. As she confided to José Vovelle, her unwavering passion for all forms of animals goes back as far as she can remember. She recalls a memorable occasion when, at the instigation of Victor Horta, her teacher at the Académie des Beaux-Arts, she visited Brussels Zoo for the first time. She watched in amazement as the wild animals evolved in front of her. These trips to the zoo inspired her series of hybrid animals, and she was particularly struck by the birds. "As it is, the animal, the bird, has too much charm of its own for me to reproduce it. (...) I try to use them to imagine other associations". "Coloured birds gave me the strongest shock, then night birds (...) fascinated me (...). Birds, symbols of freedom dear to Jane Graverol, appear frequently in her work, sometimes associated with female figures, creating a sensual and poetic atmosphere that is highly recognisable to her. Nevertheless, in many of her compositions, animals are the main subjects. In Le bon bout de la raison, the owl takes centre stage, overlooking an enigmatic landscape plunged in an opaque night where the last light of day is fading on the horizon. Crowned with foliage and its talons firmly anchored on its branch, it watches over and reigns in the darkness. As the viewer sees the reflections of the flames ripple across its shimmering plumage, the owl's eyes stare back at him, bewitching him. The glow of the candles draws the eye to its unfathomable, penetrating gaze. Like spotlights, the candles illuminate the owl for the viewer, or maybe it's the other way round. A hypnotic interplay of gazes takes place. Who is watching whom? The composition, characterised by striking visual contrasts, provokes deep reflection. Couldn't the owl, an emblem of wisdom and foresight, also be the harbinger of a bad omen? A night bird, lurking in the darkness, it is revealed by the flames of the candles, as if illuminated by the light of knowledge. Le bon bout de la raison remains a captivating and enigmatic work, emblematic of the poetic and mysterious nature of Jane Graverol's art. Her paintings, which she describes as "waking dreams", offer an infinite number of interpretations, leaving it up to the viewer to take part in the dream. Today, 100 years after the publication of the Surrealist manifesto, the work of Jane Graverol and many other Surrealist women painters is being rediscovered and revalued. In recent years, many museums and galleries have endeavoured to shed light on their contribution to the movement and their work, which had been overlooked. Today, the world's greatest museums and most prestigious private collections are seeking to house the masterpieces of these great artists who have remained in the shadows. Jane Graverol played a significant role within the Belgian surrealist movement, officially joining in 1940. Her influence within the group was considerable, as evidenced by her major role in the creation of two iconic surrealist journals: Temps mêlés in 1952 and Les Lèvres Nues in 1954. The latter, co-founded by Marcel Mariën, featured literary, poetic, artistic, and philosophical essays. Its content was marked by its provocative, experimental, and subversive nature, pushing the boundaries of artistic expression and advocating non-conformist surrealist ideas. Prominent surrealists such as Paul Nougé, Louis Scutenaire, Irène Hamoir, Christian Bussy, and Guy Debord, contributed to this journal. Richly illustrated, Les Lèvres Nues showcased reproductions of works by numerous artists, with a significant number attributed to Jane Graverol. As a notable example, the painting Le bon bout de la raison was featured in the first issue of 1969, having been exhibited at the prestigious Isy Brachot Gallery in 1968. It was also reproduced in René de Solier's 1974 reference work. This highly referenced work attests to its significance in Jane Graverol's artistic corpus. Jane Graverol's deep connection to the animal world is central to her story and iconography. As she confided to José Vovelle, her unwavering passion for all forms of animals dates back to her early years. She recalled a memorable experience when, at the suggestion of Victor Horta, her professor at the Academy of Fine Arts, she visited the Brussels Zoo for the first time. She marvelled at the sight of wild animals moving before her. These visits to the zoo inspired her series of hybrid animals, with birds particularly leaving a lasting impression. "The animal, the bird, has too much charm by itself for me to reproduce it. (...) I try to imagine other associations with them." "Colored birds gave me the most vivid shock, then night birds fascinated me". Birds, symbols of freedom dear to Jane Graverol, frequently appear in her work, sometimes associated with female figures, creating a sensual and poetic atmosphere that is distinctly hers. However, in many compositions, animals are the main subjects. In Le bon bout de la raison, the owl takes a central position, overlooking an enigmatic landscape shrouded in an opaque night where the last lights of the day fade on the horizon. Crowned with foliage and its talons firmly anchored on a branch, the owl watches, and reigns in the darkness. While the viewer sees the reflections of flames on its iridescent feathers, the owl's eyes fixate and enchant. The candlelight draws the eye to its unfathomable and penetrating gaze. Like spotlights, the candles illuminate the owl for the viewer, unless it is the other way around. A hypnotic exchange of gazes takes place. Who is observing whom? The composition, characterised by striking visual contrasts, prompts profound reflections. Can the owl, emblematic of wisdom and insight, also be an omen of ill fortune? As a nocturnal bird concealed in darkness, it is revealed by the flames of the candles, as if illuminated by the lights of knowledge. Le bon bout de la raison remains a captivating and enigmatic work, emblematic of the poetic and mysterious nature of Jane Graverol's art. Her canvases, which she describes as "waking dreams," offer an infinite number of interpretations, allowing the viewer to engage in this dream. Today, 100 years after the publication of the Surrealist Manifesto, the work of Jane Graverol and many other surrealist women painters is being rediscovered and revalued. In recent years, numerous museums and galleries strive to highlight their contributions to the movement and their productions that were previously marginalized. Currently, the world's leading museums and prestigious private collections seek to acquire the masterpieces of these great artists who remained in the shadows.