During the feedback session I was told that my intention was not perfectly clear because the nature of the problem was not visible to the viewer, but only to myself, therefore it was hard to decipher the reason why I was hiding my face behind my hands. Here I tried to represent the natural human attitude towards problems that do not directly affect us: I see it but I will act as I didn’t. For my project I imagined a combination of landscape and portraiture in an attempt to show ‘the hidden world inside myself’.įor my mid-term project earlier this year I came up with a self-portrait realised with double exposure. Double Exposure is another interesting concept I am willing to explore for my project as it is another way to represent a reality within a reality. The paintings above are basically the ‘Double Exposure’ of the TBP (times before photography). But this is exactly what I like about Magritte, he makes you question even the ground beneath your feet and never gives you the answer. Look at the image below, which one represents the sky more realistically, assuming that the frame on the left contains a mirror? The question is, obviously, unsolved. Magritte also produced excellent examples of juxtaposition. ![]() I am going to work on this and I have already written down some ideas I will try to realise. Instead of reflecting a reality within another, it frames the same reality in a selective, almost invasive way. I think, if I wanted to use and develop this idea for my project, I could achieve a similar result by using an empty frame instead of a mirror. This subtlety makes the whole comparison even more challenging. On the contrary the canvas does not reflect something else from the landscape outside the window, the canvas is the landscape outside the window…and viceversa. The concept used by Magritte however is slightly different as he does not use (symbolically, i should say paint to be clear) mirrors to create the illusion. In a previous post have compared Magritte’s paintings to the creative landscape photographs of two artists: Amat and Kukla. Or is it not?I am planning to channel this painting and create a photographic (and more personal) version of it for my project. In its simplicity I personally find this work absolutely charming and disarming at the same time.Īs you can see while the reflection of the book seems to be right, according to the laws of physics, while the reflection of the man, despite being painted realistically, is ‘wrong’. The ‘portrait’ on the left is currently being inspirational for the portraiture side of my own works. ![]() – Rene Magritte Not to be Reproduced, 1937. ” If the dream is a translation of waking life, waking life is also a translation of the dream. ![]() Not by chance he often associates everyday life with the world of dreams. His approach to real world was unique and kaleidoscopic, his paintings represent and present to the banal eyes of the viewer the changeable iridescence of ‘his reality’ through cleverly thought visual or conceptual illusions. In a letter to André Breton about one of his famous paintings with easels in front of a window it was irrelevant if the scene behind the easel differed from what was depicted upon it, because “ the main thing was to eliminate the difference between a view seen from outside and from inside a room.“Also the windows in some of these pictures are framed with heavy drapes, suggesting a theatrical motif. “ visible images which conceal nothing they evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question, ‘What does that mean?’ It does not mean anything, because mystery means nothing either, it is unknowable.“ The Human Condition, 1933. He often represented ordinary objects in an unusual context, challenging observers’ preconditioned perceptions of reality. Magritte is a surrealist painter and intellectual, who became famous for his of witty and thought-provoking images. One of my favourites has always been René Magritte (21 November 1898 – 15 August 1967). Several artists in the history of art, and later on photography, have used the surrealistic approach to render their vision of the world to strangers’ eyes. René Magritte posing for a portrait in front of one of his paintings.Įverything we see hides another thing, we always want to see what is hidden by what we see.
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