magritte

<n>The Invisible World</n>, a <n>Surrealist</n> painting by <n>René Magritte</n> from 1954.

<n>The Glass Key</n> (1959) by artist <n>René Magritte</n>.

<n>Untitled</n> by <n>René Magritte</n>.

The pictures painted during the following years, from 1925 to 1936, were also the result of a systematic search for a disturbing poetic effect, which, if created by setting objects from reality out of context, would give the real world from which these objects were borrowed a disturbing poetic sense by a natural exchange.
The way I did this was analysed by Paul Nougé in a work entitled Les Images défendues.* Firstly, removing objects from their usual surround-ings, for example the Louis Philippe table on an ice bank, the flag on a dung heap. The objects which were to be removed from their usual context were very familiar objects, in order to make the sense of disorientation as disturbing as possible. A child in flames will indeed move us more than some distant planet being burnt up [Le Maître du plaisir). Paul Nougé noted correctly that certain objects devoid in themselves of any exceptional affective power retained this power when removed from their normal sur-roundings. Thus, women's underclothes were particularly resistant to any unexpected venture.