René Magritte, L’Évidence éternelle (The Eternally Obvious, Oil On Canvas). Paris, 1930 or #lafissa
the-eternal-evidence-1930René Magritte
The Eternal Evidence, 5 framed canvases mounted on glass, cm. 22 X 12; 19 X 24; 27 X 19; 16 X 22; 22 X 12
In the Renaissance, the idea of the painting as a "window open to the world" was introduced into art, that is, a reality of which we are provided with a noteworthy image.
Magritte's art has been an unceasing challenge to this idea through a "distorted" use of conventions.
In "L'Évidence éternelle," Magritte, um, plays dirty, literally applying the metaphor of the perspective window, thus revealing all its conventionality and the implicit deception of this convention.
Presupposing an imaginary plane, beyond which there stands a model, naked.
The five small canvases are as many "windows" open into this imaginary plane and would reveal to us the world that exists behind it, allowing the woman who inhabits it to take a look at ours.
Depending on the open gap, we see different details of the woman such as the face, breasts, pubis, knees, and feet.
Here, Magritte maintains an ironic sincerity, placing all the elements "in their place"; in other cases, the incoherent details will be displaced across the various openings, thus imposing on our brain small corrections that make sense of the image, saving us from the unease generated by the vision of worlds that do not adhere to our usual rules at all.
On the other hand, "L'Évidence éternelle" is also a denunciation of the voyeurism that underlies our image culture, and the very idea of painting as a "window onto the world," Magritte focuses our gaze on the naked body, but at the same time offers us his probing gaze, loading onto us that discomfort of which we are, in part, indifferent culprits.
the-eternal-evidence-1930René Magritte
The Eternal Evidence, 5 framed canvases mounted on glass, cm. 22 X 12; 19 X 24; 27 X 19; 16 X 22; 22 X 12
In the Renaissance, the idea of the painting as a "window open to the world" was introduced into art, that is, a reality of which we are provided with a noteworthy image.
Magritte's art has been an unceasing challenge to this idea through a "distorted" use of conventions.
In "L'Évidence éternelle," Magritte, um, plays dirty, literally applying the metaphor of the perspective window, thus revealing all its conventionality and the implicit deception of this convention.
Presupposing an imaginary plane, beyond which there stands a model, naked.
The five small canvases are as many "windows" open into this imaginary plane and would reveal to us the world that exists behind it, allowing the woman who inhabits it to take a look at ours.
Depending on the open gap, we see different details of the woman such as the face, breasts, pubis, knees, and feet.
Here, Magritte maintains an ironic sincerity, placing all the elements "in their place"; in other cases, the incoherent details will be displaced across the various openings, thus imposing on our brain small corrections that make sense of the image, saving us from the unease generated by the vision of worlds that do not adhere to our usual rules at all.
On the other hand, "L'Évidence éternelle" is also a denunciation of the voyeurism that underlies our image culture, and the very idea of painting as a "window onto the world," Magritte focuses our gaze on the naked body, but at the same time offers us his probing gaze, loading onto us that discomfort of which we are, in part, indifferent culprits.
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