Magritte's fake mirror

Magritte's fake mirror
Magritte's fake mirror

This is a canvas (54 x 81 cm) painted in oil in 1929 by the Belgian artist René Magritte, one of the most recognizable artists withinsurrealist movement that occurred in the first half of the 20th century and generated works as valued as This is not a pipe, or as emblematic as all his canvases starring silhouettes and bowler hats.

Magritte's false mirror

Magritte's Fake Mirror

And within all of Magritte's pictorial production, possibly another of his most famous works, is this one that we show here fromThe false mirror. Not only because of the artistic value of the canvas, but we must also add that it is currently one of the jewels of contemporary art that is exhibited at the Museum of Modern Art, MoMA in New York. And the truth is that the fame and value of works of art can be greatly increased depending on the museum that owns them.

Okay, back to the chart. We see a huge eye (remember the dimensions), completely isolated. An eye that gazes at the viewer.

In the left area of ​​the canvas, we see the inside of the eye with very physical and anatomical qualities, look at the watery tear. And yet, that part of the canvas contrasts brutally with the other end, totally outlined, without any detail. And between both sides, so different from each other, it appears as if hanginga matte and black pupil, that as if it were a dream is floating on a sky with clouds. The entire iris is that sky, but at the same time it reminds us of the three-dimensional and convex shape, while the image of the sky is totally flat. In other words, they are all very contradictory reflections.

But the paradoxes do not end here. It is not a real sky. The clouds are very well done, with their shapes, their volumes, their texture and their color gradients, but the blue sky is absolutely smooth, without nuances. It is a sky that we do not see through a perfectly circular window, but that does not produce any reflection on the presumably liquid surface of an iris.

The truth is that the eye, the eyes, were some elements that fascinated the artists of Surrealism, regardless of the discipline they were, whether writers, filmmakers or plastic arts. The fact is that they really liked to ponder with that element that is the border between the inner and outer world, which is completely different in each individual, or any other approach that one wants to propose about the eyes and the sense of sight.

Precisely the surrealist photographer Man Ray, also a painter and author of highly valued works such as La Pera de Satie, had this painting in his possession for a time, and it was he who he described it in the most accurate and poetic way possible: “he sees as much as he is seen”.

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