Sometimes it seems that surrealism’s most enduring influence on popular culture is the non sequiturial distance between image and identifying text. When it comes to this art of disjuncture, the Belgian painter René Magritte was a master (see his 1930 work The Key of Dreams).
In college I was seduced by Magritte’s paintings of trees and nighttime illumination, and in Le Seize Septembre I found the best of both worlds. The painting shows a tree at the last moments of dusk, only the crescent moon shines not from above but from the heart of the tree, casting a strange light onto the surrounding ground. People have commented that the moon of September 16, 1956, did not look like this from where Magritte was painting: it was actually four days shy of full and much larger.
But it’s true that nature abhors a vacuum. The void of rationality behind Magritte’s choice of title for this picture I eventually filled in for myself.Continue reading