Sophie and I are now in ourfourthyear of touring the Art Institute’s galleries together. It’s my favorite annual event because she continues to force me to see something I’ve already seen a hundred times in a new way. . . which is exactly what the Surrealists—and especially Magritte—strove to do in their own work.
Magritte wanted to—in his own words—make “everyday objects shriek out loud” and encourage the viewer to continually question the world around them. One of the ways he accomplished this was by keeping some mystery around the narratives in his paintings and letting the viewer use their own ideas, associations, and opinions to develop a story. Sophie loved the fact that Magritte didn’t give anything away and had no problems imagining what might be taking place. She told me tales of acrobatic mangoes and flying turtles and candles turning into snakes.
She also extended her narratives outside the art. In The Secret Player (home of the aforementioned flying turtle), she invented a character off the left side of the painting who was throwing a ball to the men pictured. This makes complete sense as you look at the painting—the figures in white are looking off in that direction, tensed as if they’re waiting for something—but I had never thought to go outside the canvas, to think about what else is out there in Magritte’s strange world.
And so as you visit Magritte: The Mystery of the Ordinary, 1926–1938 this summer, I encourage you to think like Sophie and let your imagination run wild. It’s what Magritte would have wanted, after all.