Magritte: The Mystery of the Ordinary and Memories of a Voyage: The Late Work of Rene Magritte
By Ian Williams and Matthew Watowich
Magritte: The Mystery of the Ordinary, 1926-1938 and Memories of a Voyage: The Late Work of René Magritte are both intriguing art exhibits at the Menil Collection. These exhibits combined contain over 80 paintings by the surrealist artist. It features many of his famous paintings such as The Treachery of Images, The Healer, and The Human Condition, as well as some of his not as famous works such as ads or early sketches and paintings like The Menaced Assassin and Attempting the Impossible. The works in Magritte: The Mystery of the Ordinary, 1926-1938 are beautifully arranged in chronological order and also thematically, with some sketches or pictures of him painting scattered throughout the exhibit. In Memories of a Voyage: The Late Work of René Magritte, there is one sculpture of a coffin that looks to be sitting on a therapist couch, however, I am slightly disappointed that they do not have the sculpture, The Healer, to go along with its painting. As strange as some may find them, Magritte's paintings have a philosophical and hidden beauty.
René Magritte's art challenges the mind with philosophical questions and past memories of his life by incorporating people and events that planted themselves in his mind. His art discusses the unusual in relation with every day life and the mixture of reality and imagination. In 1927, Magritte became a leading member of the Surrealist art movement shortly after he left Belgium to go to Paris. Following that, he moved to America to escape World War II. Here he met Dominique and John de Menil, two established art collectors. The de Menils became very interested in his artistic talents because they were huge fans of the Surrealist movement. They introduced Magritte to American culture by taking him to popular events such as the rodeo. They continued collecting his artwork and maintained a good friendship until Magritte passed away in 1967, leaving his creative and thought-provoking masterpieces behind for the world to forever enjoy.
Magritte with the de Menils at the rodeo.
A painting some may find a bit disturbing or odd, The Lovers, is an image of two people, one male and the other female, kissing, with a white layer of fabric shrouding their faces. The real truth behind the picture though, is dark, personal, and sort of upsetting. Magritte's mother drowned herself when he was only 14 years old. Â When her body was found and taken from the water, the white and wet skirts of her dress were draped over her face. This memory of his deceased mother reveals itself through other works by him that include mysterious figures with white cloth draped across their faces.
Clairvoyance is a painting that really stands out to me. It combines Magritte's graphic style of painting with some extremely detailed work. In this painting, there is a man who is looking at a bird egg and painting a flying bird. The easel that he is painting on is simple with just plain mahogany pieces of wood. However, the man's face is detailed with a great deal of shadows and highlights; his eyes even have reflections in them as if light is hitting them. However, the thing that really ties this painting together is its name. Clairvoyance refers to the ability of someone to be able to see into the future. The man in this painting is looking at an egg, but is also looking into the future and seeing the bird that it will become. I think that this concept is interesting, and he captures it so well.
Like The Lovers, Black Magic has a familiar face in it as well. Not of Magritte's mother, but of his wife, who is easily recognizable in most of his paintings because of her burgundy hair pulled back into an elegantly braided bun behind her head. He paints her completely nude, with this odd sort of majesty in her poses, facial expressions, and overall beauty. In this piece, Black Magic, she is seen flamboyantly relaxed on a rock that appears to be out somewhere in the midst of a vast ocean. At the same time, she is in a room with caramel-colored, wooden walls. These two scenes are separated with what appears to be a rip out of the wall, like one would rip a piece of paper, with the beautiful, blue ocean on the left side of the canvas where she is seated so calmly and the wooden wall on the right. Her body has also been split into the two realms as well, the lower half of her body consists of the typical, peach flesh tones he illustrates her with in all of the other paintings, but, the upper half of her body camouflages into the blue ocean background as simplistically as a chameleon would to a green leaf. Though the bottom half of her body appears to be human, the upper half is like a statue. This isnât because of shape of her shoulders or breasts, but her eyes. Upon closer inspection, I found that her pupils and irises are missing. They are the same shade of blue as the ocean sky. To complete the image, there is a white dove perching on her right shoulder. This painting reminds me of making a decision. You can make one unique decision that will draw attention, like the wooden side of the canvas, or you can be like everyone else and blend into the background, like the plain and steady statue she becomes that matches the ocean which may be beautiful, but, in all, is a plain, flat, and blue body of water that looks the same no matter how far you travel on it.
The painting, Golconda, plays on Magritte's theme of replacing the ordinary with the unordinary. In this painting, he replaces normal raindrops with men is suits and bowler hats. I love this painting because it is very structured but then provides so much detail. All of the men in the painting are equally spaced apart and are in perfect rows. Rain obviously doesn't fall this way, but I assume he was playing with the mixture of reality and non-reality. He puts a lot of detail into this painting by making all of the men turned different ways. They are all upright, but some of them are turned with their backs towards us, while others are turned sideways and even facing forward. Even the men in the far background are turned different ways, which is surprising given the fact that they are so small. Also, each of the men's faces have different emotions. Some of them are smiling, while others are frowning or just serious. There are even some that are smirking or giving a guilty look.
Magritteâs amazing ability to capture such profound and deep concepts is displayed masterfully in this exhibit. One can easily see the ongoing questions and events that occurred during his lifetime. Viewerâs minds will leave racing with questions and complex thoughts as they try to fully understand the compelling themes and symbols displayed in Magritteâs artwork.Â