Art Review: René Magritte The treason of Images

THIS IS NOT A PIPE

Artist: René Magritte

Title: The treason of Images

Year produced: 1928-1929

Oil on Canvas

Size: 23.5 * 37 inch

Style: Surrealism

Location: County Museum of Art, Los Angeles

The following review is part of my art review essay years ago:

We recognize the image on the canvas as a pipe, because it looks like its object, the substantial pipe. It is an icon of the substantial pipe. The French inscription (Ceci n’est pas une pipe, which means this is not a pipe in English) below the image is clearly classified as the category of symbol. However, if the viewer did not understand one word of French, the markings would turn to be meaningless. It is known that words are perceived as markings with convention and it is highly arbitrary, the word pipe would make no sense if the viewer didn’t know the conventions agreed amongst the French users. John Fiske once pointed out that sings with no conventional dimension are purely private and thus do not communicate (Fiske, 1990 p56). Then we can basically conclude that the whole painting is a combination of icon and symbol.

Nevertheless, when people find the icon and the symbol of the painting lead to absurdity, it can be considered that this contradiction is an index of emotional attitude. People are all familiar with the substantial pipe, so we usually do not take notice of it. The words “This is not a pipe” bring us a new way of understanding our own reality through shock. When taking a deeper look at the canvas, we can find that the pipe is presented in an undefined space, it seems like floating in the air and it has no shadow which it should be in a three dimensional object, moreover, it’s not functioning for there is no smoke. However, a defined space, shadow, and functioning are the characteristics that a substantial pipe possesses. As a result, it can be claimed that to quota “This is not a pipe” is correct.

In conclusion, the painting The Treason of Images is composed of icon, symbol and index. With a familiar image in an unfamiliar context, the painting brought us a new way of understanding the reality. Finally, I want to notice that the painting cannot be well analyzed by the Swiss linguist Saussure’s sign system because actually there is no signified for the signifier.

References:

Fiske, J 1990, Introduction to Communication Studies, Great Britain: Routledge, 56.

Foster, H, Krauss, R, Bois, Y, Buchloh, BH 2002, Art Since 1990, United Kingdom: Thames & Hudson, 213.

René Magritte’s other paintings include: The son of Man, La condition humaine, Time Transfixed and Delusions of Grandeur.

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Pablo Picasso - The Dream - Art Review

PICASSO, Pablo

The Dream 1932

Oil on canvas

51 1/4 x 38 1/8 in.

Collection Mr. and Mrs. Victor W. Ganz, New York







About the Artist: PICASSO, Pablo

Pablo Picasso was born on the 25th of October 1881 in Spain and died on the 8th of April 1973. Picasso was at the forefront for creating a new type of art Cubism which his distinctive style later became famous and made his style distinctive. During Picassos life his art style developed and different periods are catergorized: Blue Period [1901-1904], the Rose Period [1905 to 1907], the African-influenced Period [1908 to 1909], Analytic Cubism [1909 to 1912], and Synthetic Cubism [1912 to 1919].

About the painting: The Dream 1932

The Dream is the best known portrait of Picasso's mistress Marie-Therese Walter. The curves in the painting is what makes the model in the painting unique and give her her presence. There is also contuing reference to a phallus motif on the head. This painting is beautiful which ever way you look at it. The Dream is a development of Picasso's Cubism, Abstract and Surrelism techniques and has produced a masterpiece.

'A painting comes too me from afar; who knows how far; I divined it, I saw it, I did it, but even so , the next day, I cannot see what I have done myself. How can anyone penetrate my dreams, my instincts, my desires, my thoughts, which have taken so long to develop and to see the light of day, and comprehend what I have put into it, perhaps even against my will.' Picasso

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