The Chicago Art Institute Has a Large Collection of Famous of Belgian Art
The Banquet
Prototype deportment
Date:
1958
Artist:
René Magritte
Belgian, 1898–1967
About this artwork
This sheet is the concluding, largest, and most impressive of 4 oil paintings of this title; the iii other paintings are all dated to 1957 (ill. 851–52, and p. 272, no. 857). There are also five versions of this image in gouache, starting in 1956 and extending to 1964 (ill. In ibid., vol. 4, 1994, p. 193, no. 1421, p. 198, no. 1429, p. 273, no. 1563, and pp. 275–76, nos. 1566 and 1568). Magritte first realized the idea and conceived the title for this series in the outset of these gouaches completed in 1956 before long after he appear to Mirabelle Dors and Maurice Rapin, in a letter of November 9, 1956, that "Le Banquet" was one of his latest "finds" (ibid., vol. three, 1993, p. 267). The footling sketch in this alphabetic character shows the main motif of the lord's day visible before a clump of trees ready in an unspecified mural. In the first oil version (every bit in the before related paradigm, The Sixteenth of September, 1956, location unknown; ibid., vol. 3, 1993, p. 254, no. 834, ill., which shows the crescent moon on a large tree), the clump of trees is set in a meadowlike clearing dotted with large stones. In the second oil version of The Feast, equally in the Bergman sheet, the woodland glade is replaced with a stone parapet or balustrade, whose top is lit by the sun'southward rays. This feature suggests a parklike setting, a domesticated concept of nature suited to Magritte's deadpan, realist style. The proportions of the objects in relation to one another also differ from canvas to canvas; in the movie under discussion, the lord's day looms larger in relation to the trees than in other versions and appears therefore closer to the viewer. It is interesting that, although the motif in essential respects is identical, significant variations mark each version as a distinct image.
The Banquet serial is a evolution of another series on which Magritte had started working in February 1956 and which he called The Place in the Sun. In these pictures, Magritte focused on the Surrealist idea of displacement, only with a item twist. One object was superimposed on another larger one to which it was unrelated. The original series included an paradigm of a seated scribe superimposed on an apple (ibid., vol. 3, 1993, pp. 252–53, no. 833, ill.) and Sandro Botticell's Primavera silhouetted against a effigy in a bowler hat seen from behind (ibid., vol. three, 1998, p. 258, no. 837, ill.). Magritte's approach in these pictures resembled what he referred to as "Objective stimulus," a term he applied to those instances in which he replaced an object familiar to a detail context with one related to it but out of identify, equally he did in his 1933 painting Constituent Affinities of a huge egg in a birdcage (Paris, E. Perier; Sarah Whitfield, Magritte, London, The Hayward Gallery, 1992, exh. cat., no. sixty, ill., n. pag.). Every bit he explained to Rapin, The Place in the Sun is if you like an 'Objective stimulus' with the deviation that the paradigm which comes 'on' another has a still greater charge of strangeness (ibid., vol. 3, 1993, p. 253). In a subsequent letter to Dors and Rapin, Magritte wrote of The Sixteenth of September, "I have continued with my 'Places in the Sun' but by now the championship is no longer suitable for a large tree in the evening with a crescent moon above it!" (ibid., vol. 3, 1993, p. 254). The object that would have been subconscious (crescent moon, sunday) is now visible, hiding part of the object that would have hidden it.
These works are striking examples of Magritte'south interest in the categories of the visible and the invisible. In a letter of the alphabet to André Bosmans of September 25, 1964, Magritte explained:
With regard to "the invisible," I understand that which is not visible, for case; heat, weight, pleasure, etc. There is the visible that is seen: the apple on the face in The Swell War, and the visible that is hidden: the confront hidden by the visible apple. In The Feast the sunday hidden past the curtain of trees is, itself, visible (René Magritte, Lettres à André Bosmans, 1958-1967, ed. by Francine Perceval, Brussels, 1990, p. 383).
According to the above criteria, the dominicus hidden by trees is an instance of the "visible that is subconscious." In the Banquet series, Magritte carried the implications of these reflections i step further: he actually rendered the dominicus visible past creating a visual conundrum, in which the sun is not displaced from its customary context, merely rendered strange.
At this time Magritte seems to take been interested, moreover, in the varying quality of calorie-free at different times of day. Of the second version of The Sixteenth of September (1956, Antwerp, Koninklijk Museum voor Schone Kunsten; ibid., vol. 3, 1993, p. 257, no. 836, ill.), he wrote to Dors and Rapin on Baronial half dozen, 1956: "I have simply painted the moon on a tree in the greyness-blue colors of evening" (ibid.). In the Bergman version of The Banquet, the strong red glow of the setting sun is framed by the concealment landscape, a naturalistic effect that further dramatizes the "charge of strangeness" (Magritte, quoted in ibid., vol. 3, 1993, p. 253).
The Bergman painting also has a potent formal quality, with the dominicus as a pure circle in the center, balanced by the strong architectural horizontal of the balcony. In this respect, the picture recalls Max Ernst's Forest series of the late 1920s (Ernst Katalog, vol. 3, pp. 180-209, nos. 1140-96, ills.), where the round forms of sun or moon piece of work pictorially in both an abstract and figurative sense.
–Entry, Dawn Ades, Surrealist Fine art: The Lindy and Edwin Bergman Collection at the Art Institute of Chicago (Chicago: Art Plant of Chicago, 1997), pp. 172–74, cat. 86.
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Status
- On View
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Department
- Mod Fine art
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Artist
- René Magritte
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Championship
- The Banquet
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Place
- Belgium (Object fabricated in)
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Engagement
- 1958
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Medium
- Oil on canvas
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Dimensions
- 38 1/4 × 51 ane/iv in. (97.3 × 130.3 cm)
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Credit Line
- Lindy and Edwin Bergman Collection
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Reference Number
- 2018.295
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Copyright
- © 2018 C. Herscovici, London / Artists Rights Lodge (ARS), New York
Extended information most this artwork
Object information is a work in progress and may be updated as new research findings emerge. To assist improve this record, please electronic mail . Information about image downloads and licensing is available here.
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Source: https://www.artic.edu/artworks/118718/the-banquet
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