Rene Magritte Research Articles

That is not a pipe, Mon. Magritte. But, is this not a map? Some questions about map correspondence inspired through Barbara Buttenfield

ABSTRACT This essay considers a painting from Rene Magritte, The Treachery of Images, also known as “This is not a pipe,” the translation of the prominent statement Ceci n’est pas une pipe in the painting, which Barbara Buttenfield had prominently placed in her University of Buffalo office. It is an iconic and surrealistic twentieth century artwork (with a second version), widely copied and readily available online. Its visual juxtaposition of a textual element and detailed realist painting of a classical smoker’s pipe can quickly become more than a surrealistic play with words and images and poignantly stimulates associations and disconnections between image and object, text and object, and text and image. Viewers can also see a relevance of this painting to a number of representational issues involving images and maps. However, I want to focus in this essay on just two questions: 1) why do people affirm the connections between graphical map images and graphics in light of a fundamental disconnection between map and the represented territory or objects and 2) how do people still find sense in maps after we acknowledge the limits of any sense of correspondence between map image and experienced geography?

The Surreal Art of Rene Magritte and Visual Processing: Analysis of Two Iconic Paintings

The Surreal Art of Rene Magritte and Visual Processing: Analysis of Two Iconic Paintings

Private International Law as Art

Private international law stands apart in the legal system due to its special subject and method. Currently, the potential of private international law is being revealed in a new way due to the emergence of a new type of “space” — cyberspace, and many traditional institutions and problems of private international law are finding opportunities for a new interpretation or solution. At its core, private international law is the right of the avant-garde, in connection with which the idea arose of considering its individual institutions through the prism of art. And it was the work of the Belgian artist Rene Magritte that, according to the author, turned out to be most in tune with many of the sought-after issues of private international law. This article is an exclusively author’s attempt to combine legal matter with painting, aimed at illustration with the help of an artistic form of legal content.

ARTISTIC REFLECTIONS IN THE GLOBAL SENSATIONAL SQUID GAME SERIES

Squid Game, Netflix platformunda yer alan dokuz bölümlük Güney Kore yapımı bir dizidir. Gerilim-dram türünün bir örneği olan dizide oyun sahnelerinde çocuksu masum temalar gösterilmesine rağmen gerçekte çokça kan ve şiddet unsuru yer almaktadır. Söz konusu dizide, birçok sahnede bilinçaltına yönelik etkileme yöntemleri uygulanmaktadır. Bilinçaltındaki bilgiler çağrışımlar yoluyla izleyici hem sorgulatıp hem de merak ettirmektedir. 
 Dijital platformların sıklıkla kullanıldığı günümüzde Squid Game dizisi; gerek sosyal medya paylaşım ve tartışmaları gerek konusu gerek içerdiği şiddet sahneleri ve gerekse küçük yaşta izleyiciler tarafından da izlenmesi gibi unsurlar nedeniyle dünya çapında adından söz ettirerek gündemde kalmayı başarmaktadır. Son dönemlerdeki popüler dizilerden olan Squid Game şiddet sahneleriyle çok tartışılsa da, bazı bölümlerde sanatsal göndermeler de bulunmaktadır. Rene Magritte, Van Gogh, Picasso, Claude Monet, Maurits Cornelis Escher, Friedrich Nietzscheve ve Jacaques Lacan gibi sanatçı ve düşünürlerin eserlerinden izler barındıran dizi bu bakımdan incelenmiştir. Bu amaçla araştırmada dizide yer verilen ve kimi sahnelerde kullanılan sanatsal yansımalar ve bu yansımalarla ilgili sanatçı eserlerine yapılan göndermeler ele alınmıştır.

Gerçeküstü Sanat Akımının Kurgusal Mekânlara ve Metaverse Kavramına Katkısının Norm Bağlamında İncelenmesi

Surrealism is an art movement interpreted by Surrealist artists with the advent of consciousness studies in the 19th century. Sigmund Freud's research on consciousness in the 19th century inspired surreal artists. Surreal works of artists such as Rene Magritte, Salvador Dali, Giorgio de Chirico can be considered as the first steps of future Metaverse spaces. In the 19th century, the search for the perfect form of the modern age shaped spaces as well as the human body. The pioneers of the surrealistic movement inverted established perceptions by addressing the canonical body and spaces in their works. With the development of 3D technology and metaverse, the design of non-normative spaces and bodies has become more possible. The study evaluated the effect of thoughts created by virtual reality along with surreal movement on fictional spaces and bodies within the norm. As a result of the study, it is predicted that unusual fiction will be more common in virtual reality and the perception of norms will change. It is assumed that in the mystical universe of virtual reality, spaces and bodies without organs will emerge and trigger social, sexual, and cultural revolutions.

Surrealist Artworks as a Stimulus for Student Artistic Expression

Abstract Works of fine art present an inexhaustible source of imagination, aesthetics, and creativity and can stimulate the development of personal creativity. Communication with artworks is possible if trained to understand and aesthetically experience them. It is therefore important to be in contact with the rich symbolic meanings of the language of art. If we want to educate students to be able to communicate and understand the cultural dynamics of art forms and to successfully communicate with art forms in the future and develop their visual art literacy, we should implement artistic educational content in higher education. Contact with artworks allows students to better understand their thoughts and feelings and, if using appropriate methods, an artwork can stimulate students to be creative. This paper investigates the influence of Surrealist paintings (made by Rene Magritte and Salvador Dali) on stimulating the artistic creativity of 46 first-year students of Early and Preschool Education at the Faculty of Humanities and Social Sciences in Split, Croatia. The results are presented using a qualitative methodology, i.e. a specific method of aesthetic transfer (perception, reception, and reaction) that brings the observer of the artwork into aesthetic interaction with the work and stimulates their experience of the work along with their creativity. Experiencing the artworks of Surrealism aroused students’ emotions and aesthetic experience, allowing them to create background stories about the observed. Using various freely chosen art techniques, they also made their own artworks, which influenced the development of student creativity.

Readymade-image-sentence: protest aesthetics in a time of democracy post-1989

ABSTRACTJacques Rancière perceives the image as what is sayable and visible and 20C film montage as an Image-sentence: the closest proximity of parallel realities (Rancière 2007). Prohibited from public view, Marcel Duchamp’s 1917 Readymade revolution is re-membered in a photographic image: a fountain-urinal. On the mourning after WWII, George Orwell noted readymade-sentences of what could(n’t) be said (Duchamp 1997). Captured by Rene Magritte, the treachery of a painted-word-image-thought, could have been a film about what it wasn’t (Flavia, 2014). About now, Walter Benjamin saw an optical unconscious in the photograph miraculously inverting the awe of culture and nature. (Benjamin 2004) After 1989, Bruno Latour held this modern Constitution as equally anti-modern (before ever having been modern) and postmodern, after which there would be nothing, except the digital image (Latour 1993). Before this, Situationist International and Fluxus showed life as the other side art. Keep your coins, I want change, read millennial graffiti’s signature anonymity . With no True North, this portfolio-essay presents an Image of protest aesthetics in a time of democracy post-1989. Before, from a North in the South; after from southern hemisphere parallels; in-between from a South in the North. Overarching is a Pacific mirror. Each readymade-image-sentence has four cartoons and four, 200-word max. abstract captions.Keywords – aesthetics, protest, city, North-South, East-West

Erving Goffman’s Trite Metaphors

The article reconsiders Goffman’s legacy in the light of present-day realities. The author deems the revitalization of cognitive metaphors to be premise and necessary condition for viability of the dramaturgical perspective. Metaphors awaken when they begin to wake us up, come to life when they give us life. In view of this, an attempt has been made to reveal all-too-human and atemporal facets of the tropes we are all very familiar with – in other words, their primary existential foundations. However, as G. Lakoff and M. Johnson put it, relationships between metaphors are based on entailment, or on sub-categorization. Sharing P. Riсоеur’s point of view that “metaphorical sense as such feeds on the density of the imagery released by the poem” – and actually, by any metaphorical text – the author makes clear meanings elusive and “deciphers” Goffman’s writings using his (Goffman’s) own “prompt messages” or low-key details to resolve some kind of semantic ellipsis. As a result, key metaphorical lines of reasoning under discussion include (1) perspective–frame–door; (2) world–theatre/as if–sleep; (3) man–actor–shadow. Our attention is drawn to the astounding similarity between frame analysis and brushwork of Belgian surrealist Rene Magritte who challenged preconditioned perceptions of familiar things giving them new contextual meanings. In the concluding section a cautionary note about the possible transformation of Goffmanisque metaphors to prophecy is sounded.

René Magritte as an Inspiration for Modern Advertising Design

The advertisers would seek to create unique, unexpected, and dreamlike images for use in promotions because advertisers often try to gain consumers' attention, to fuel their fantasies and to induce them to view a product in a new light. As a result, surrealistic ads have been used to promote a variety of products. One of the artists who have the most influence on advertisers and publicity is Rene Magritte. Parodying the works of famed artist like Rene Magritte not only catches the consumer’s attention but also, it shows the advertisement from a novel perspective. Advertisers involved in designing persuasive communications have long been interested in creative ways of capturing audience attention and the use of incongruity is one effective way to do so. The surrealist advertisement is constructing the association between the images of the “unrealistic” artwork and the unbelievably good performance of the products or services as the works of surrealist painters are usually considered as a symbol of “unrealistic, absurd, surreal” concepts. In 1986 an article was published in the Journal of Advertising that sought to determine how and why Surrealism was effective in advertisements, this article stated that social adaptation theory predicts that employing surrealistic techniques in advertising design should draw attention because the information will be perceived as unexpected, novel and out-of-context. The main objective of this paper is to describe the influence of Rene Magritte’s artworks techniques as on modern advertising design, through analyzing some modern advertising designs that got inspired by Rene Magritte’s techniques. Also, this paper shows and analyzes the advertising designs of the well-known surrealist artist Rene Magritte. The importance of this paper is to explore Rene Magritte’s approach in advertising designs and to discuss the key influences and motives that were the foundation for Rene Magritte’s surrealist conception in ads designs. Also, to explore why Rene Magritte’s artworks techniques are a great inspiration for modern advertising designs. The problem of this paper can be formulated as the following: How does Surrealism art conception affect in a modern advertising design?, What was Rene Magritte’s approach in advertising designs?, What is the dissociation of image and text in Rene Magritte artworks?, What are the influences of Rene Magritte’s artworks techniques as on modern advertising design?, How do Rene Magritte artwork techniques inspire modern advertising designers?. The hypotheses of the paper: Firstly, as an effective way to highlight the product’s strength and strongly catch the audiences' attention to the advertising, designers use the concepts and techniques of surrealism such as surprise, unexpected juxtapositions, and non sequitur. Secondly, the modern advertising can explore new heights by parodying the artworks of surrealist famous artists such as Rene Magritte. Finally, the dissociation technique between image and text in Rene Magritte paintings is effective for advertising design, where incongruity is often used as a creative strategy. This paper follows the descriptive method to describe Rene Magritte’s surrealist approach in advertising designs throughout the study of his artwork techniques and surrealist conceptions. This paper also uses the analytical method to analyze Rene Magritte’s advertising designs, also to analyze chosen examples modern advertisings designs that use Rene Magritte techniques as an inspiration.

L’invenzione della Sirena: miti marini e figurazioni alate nella storia immaginaria del Mediterraneo

La sirena è uno dei miti mediterranei più proficui tanto in letteratura come nelle arti. Macro-categoria culturale che “spiegava” un’esperienza del reale, il mito della sirena si è talmente trasformato durante i secoli e le culture da parodiare o mantenere appena tenuemente il legame con il celebre episodio omerico. Magritte, ne “L’invention collective”, raffigurando una creatura che avrebbe potuto far parte della zoologia fantastica di Borges e Guerrero, presenta all’osservatore, una sirena “al rovescio”. Significativamente fuori dall’acqua, la sirena ha gambe umane, femminili e il resto del corpo di un pesce. Già Diderot, nei suoi “Pensées détachées”, aveva riferito dell’orrore provocato da una sirena rovesciata. Le sirene, ad eccezione della nomenclatura di alcuni mammiferi marini, non esistono. Tuttavia, come suggerisce Agamben parlando delle “Ninfe”, esse sono « reali », poiché rappresentano, come si evince dal titolo del quadro di Magritte, un’« invenzione collettiva », cioè un concetto costruito per dimostrare l’origine di aspetti misteriosi della realtà. L’invenzione “collettiva” del mito della sirena, come Diderot e Magritte avevano osservato, rappresenta un rovesciamento della narrazione mitologica. Nella prospettiva inaugurata da Diderot e Magritte, e attraverso esempi tratti da opere di Giraudoux, Tanizaki e D’Arrigo, intuiamo che la modernità del mito della sirena risieda nell’ambiguità e dualità della sua figura a metà.

무의식의 표현을 통해 본 살바도르 달리와 르네 마그리트의 작품 비교 분석 연구

본 연구는 살바도르 달리와 르네 마그리트의 작품 비교 분석을 통하여 무의식의 표현원리와 조형 언어를 비교하는 데 목적이 있다. 무의식의 표현을 근간으로 하는 초현실주의 작가인 달 리와 마그리트 작품에는 어린 시절에 억압되어 있던 무의식의 이미지가 반복적으로 표현되고 있다. 그 무의식의 표현을 작품의 내용과 양식, 작가가 살아가는 태도와 관련된 특성으로 비교 해 본 결과는 다음과 같았다. 첫째, 주제별로 살펴본 주요 작품들의 표현내용에서, 달리는 대상 에 대하여 공격적인 표현으로 적극성을 보인 반면, 마그리트는 관조하는 방식으로 무의식을 표 현하는 소극적인 면을 보이고 있다. 둘째, 구도와 색, 형태, 공간의 양식적 조형언어 분석에서 달리는 동적인 구도, 고채도의 난색, 곡선의 형태, 근경과 원경만의 강한 조형어법을 사용한 반 면, 마그리트는 정적인 구도, 저채도의 한색, 직선의 형태, 근경과 중경, 원경을 모두 공간표현 에 사용하고 있다. 셋째, 이러한 대비는 삶의 태도에서도 확인할 수 있다. 달리는 자기의 존재 가치와 능력을 과시하는 자기애적 발언과 태도를 보이지만, 마그리트는 우울과 관련된 태도를 보이면서 익명성을 추구하고 있다.

Memória, imagens, palavras: uma leitura de Magrite à luz da Literatura

O artigo propõe a leitura da tela A memória (1948), de René Magritte, como uma espécie de compilação das teorias mais importantes da memória. Para tanto, a discussão perpassará cada elemento que compõe a tela – uma fronte em mármore, um guizo, uma folha, uma cortina vermelha e um céu repleto de nuvens – buscando compreender a problematização do conceito de memória proposto pelo autor em imagens. Nesse sentido, temas adjacentes serão colocados em pauta, dentre eles as metáforas da memória mais recorrentes, como a do livro, sobretudo em Dante Aliguieri; a relação entre memória e morte, especialmente no que diz respeito ao trauma, que discutiremos a partir do tratado de retórica clássica Ad Herenium, bem como a própria relação entre passado, presente e futuro, lido aqui de Aristóteles a Lewis Carrol. Nesse sentido, partindo de uma análise comparativa entre a tela e alguns textos literários e teóricos, o artigo se propõe a compreender do que trata a memória para René Magritte.Palavras-chave: memória; mnemotécnica; escrita; tempo; esquecimento

라캉(Lacan)의 정신분석적 관점에서 본 르네 마그리트 (Rene Magritte)의 강박증적 회화 작품연구

라캉(Lacan)의 정신분석적 관점에서 본 르네 마그리트 (Rene Magritte)의 강박증적 회화 작품연구

Non-classical Art: The Anthropological Aspects

The birth of the phenomenon of “Non-classical Art” was prepared by the very logic of the historical movement of the Culture of the New Age. If you try to express this in a short formula, at a certain stage of a person’s search a rational distrust of the rational arises. The crisis of the classics came as a consequence of the crisis of classical rationalism that erupted in European culture since the 1830s. The New Art is focused on ways of expressiveness that cast doubt on the absoluteness of the norms of Classical Art. In painting, this was manifested in the prevalence of the principle of pictoriality (color-light relations) over plasticity (the primacy of the line, drawing), dynamics over statics, atectonics over tectonics, a shift from the central axis of the picture in favor of the so-called “landscape vision”, which tells the painting several centers at once . The Artist of the 20th — early 21st centuries understands that his life goes on in a completely different Picture of the World and puts a lot of effort into ensuring that his works can become the artistic equivalent of a contradictory era, expressed by adequate colors, lines, a complex composition, a deformed space, a displacement of the center paintings, its sustainability — all that has always been masterfully mastered by the language of painting. Tested and adapted means of Classical Art are unsuitable for the implementation of the dramatic and tragic collisions that occur with a man of Modern times. Interpreting the sharp, painful, depressing images of Egon Schiele, Rene Magritte, Francis Bacon, Anselm Kiefer, Jean-Michel Basquiat, the Philosophy of Art captures the conditions of painful erotica, loneliness, acute anxiety, an existential impasse, almost an anthropological disaster. Nevertheless, all of the creators listed have a strong letter. The works of these artists of the twentieth century do not fit into any expected, familiar “format”, but they are full of some hidden vitality. A number of examples of non-classical art demonstrate that painters are not very shy, solving today the problem of “art and evil”.

La Belle Captivated in a Phantom City: Alain Robbe-Grillet’s Visual Writing

creation of the phantom city, as the narrator suggests, is an illusionist painting, a make-believe story that necessarily defies mimesis. Rather than imitating the reality of the outside world, Robbe-Grillet uses eidetic arts as the architectonics of his phantom city. The texts that comprise Topology of a Phantom City are drawn from Robert Rauschenberg’s and Rene Magritte’s paintings, Paul Delvaux’s etching, and David Hamilton’s photographs. The 'First Space' of Topology includes the first seven texts of the Robbe-Grillet–Delvaux collaboration, which was initially published as a book of ten etchings and ten texts, Construction d’un temple en ruines a la deesse Vanade. Robbe-Grillet has reinserted the last three texts in the 'Third Space.'

Elective Affinities—René Magritte as the Guest of His Patron Edward James in London: The Artist’s Letters and Postcards to His Wife, 12 February–19 March 1937

This essay takes as its subject the letters and postcards written by Belgian painter Rene Magritte (1898–1967) to his wife, Georgette, between 12 February and 19 March 1937, while the artist stayed...

Markov models — hidden Markov models

“Everything we see hides another thing, we always want to see what is hidden by what we see” — Rene Magritte

Rene Magritte의 철학적 사유와 회화작업의 의미

Rene Magritte의 철학적 사유와 회화작업의 의미

This Is Not an Improvisation: Letitia Landon and the Slipperiness of Taxonomy

ABSTRACTWriting in 2007, in The Wordsworth Circle, Jeffrey Robinson remarked on the “ephemerality” of improvisational poetry, its fundamental resistance to being “preserved.” Printed poetry is typically regarded as “fixed” and static: what any poem represents as improvisation is, at best, only a record, executed in a fixed medium, of a performance whose infinite variability is inherent in the nature of improvisation itself. Partly an homage to Rene Magritte’s This is Not a Pipe (1928–29) and to Michel Foucault’s 1973 essay on that painting, and using as a test case The Improvisatrice (1825), the long poem by Letitia Elizabeth Landon, herself a devotee of interdisciplinary and multimedia performance, this essay considers the physical, structural, and methodological challenges and limitations posed to printed “word art” by works that purport to be, or aspire to the condition of, “improvisations.” The improvisatrice who is the poem’s narrator claims to be both a painter and a songstress, but her “speech,” captured and rendered in printed words by Landon (who ventriloquizes that speech), can neither “be” nor even “represent” a work produced (“performed”) in visual art or vocal song. In her long poem Landon effectively creates a literary trompe l’oeil, an illusion that depends for its “completion” upon the reader’s implied participation in that performative act of completion. In the process, Landon’s poem reveals the fundamental incompatibility of improvisational literary production with the performative nature of improvisation.

“The Sky Is Hidden”: On the Opening Up of Language and National Borders

The article comprises a series of microessays, initially troped around three artworks by Cildo Mereiles, Rene Magritte, and Georges Perec. Each serves to problematize the links between geographical landscapes and entities as abstract and historically recent as nation-states. These essays are numbered in the fashion of bureaucratic documents (either processed or awaiting decision). Interspersed through them are photographic images of dilapidated and largely boarded-up houses, taken just kilometres from the Moria Refugee camp on Lesbos. The writing, meanwhile, turns from spatially subversive, contemporary artworks to consider a discourse on language and its role in creating space, from a time well prior to nation-states. Moments in Varro and Cicero bring out the historicity, and with that the fragility, of current ways—“by birth,” “sovereign soil,” “naturalization”—of linking terrain to territory, bodies to place. The article concludes with a discussion of intellectual strategy, via meditation on (the opening up of) the origins or words and geographies.