- MagritteOur PickBy Suzi Gablik
- Magritte: Attempting the ImpossibleBy Siegfried Gohr, René Magritte
- Keeping an Eye Open - Magritte: Bird into EggOur PickBy Julian Barnes / One chapter devoted the originality of Magritte
Important Art by René Magritte
This elegant work is a fine example of Magritte's early attempts to find a restrained, illustrative style. It bears comparison with contemporary Belgian Expressionism and also with the classicizing modernist styles that were then popular throughout Europe. We can recognize many of the elements that characterized his later paintings, such as the prominence of the sea and the mysterious sphere in the background. This work also bears the influence of Magritte's professional forays into the world of fashion advertising, and his interest in the works of Fernand Léger. Bather can be compared to his painting The Bather between Light and Darkness (1935-36), which explores the same scene in the artist's mature style. In 1930, the artist gifted the picture to his sister-in-law, Leontine Berger.
Here, the viewer is confronted by five men - or perhaps five views of the same man - each corresponding to a seemingly random object. These bland portraits with indistinct clothes, features, and expressions are characteristic of Magritte. The objects, on the other hand, are unique and command more attention than the figures who stare blankly at them. Several pictures that predate this attest to Magritte's interest in depicting objects in his work, but this is the first in which the objects appear alongside figures and are associated with the mental states of those figures. In this regard it shows the artist's growing interest in the Surrealist idea of the unconscious. Magritte's way of placing the objects in relation to the figures also enabled him to partially occlude their faces, a strategy which he would often employ in later work.
The Treachery of Images cleverly highlights the gap between language and meaning. Magritte combined the words and image in such a fashion that he forces us to question the importance of the sentence and the word. "Pipe," for instance, is no more an actual pipe than a picture of a pipe can be smoked. Magritte likely borrowed the pipe motif from Le Corbusier's book Vers une architecture (1923), since he was an admirer of the architect and painter, but he may also have been inspired by a comical sign he knew in an art gallery, which read, "Ceci n'est pas de l'Art." The painting is the subject of a famous book-length analysis by Michel Foucault. One might also compare it with Joseph Kosuth's handling of a similar problem of image, text, and reality in his 1965 installation One and Three Chairs.