It miraculously holds things up – as the water is held up or balanced by the glass. But the extraordinary thing is that out of this series of comparisons something is produced that – perhaps – has nothing in common with that original line with which he began. Is this not Magritte’s joke? We can go from one place to another, but we cannot say how we got there or there would be nothing at stake – no spiritual redemption or grace – in doing so. It seems to me that, for instance, green peas have between them relations of similitude, at once visible (their colour, form, size) and invisible (their nature, taste, weight). In the Hegel's Holiday, it is that of the glass of water on top of the umbrella; in State of Grace, it is that formed by the two wheels of the bike across the fulcrum of the owl on the cigar): Jan Vermeer's Woman Holding a Balance (1662-4). 7 It is interesting that Representation was once going to be called Endless Holiday. It inaugurates a kind of metaphor or scale which allows us to compare what would otherwise be incomparable. Blog about “Authors’ Authors,” a 1976 round up of various authors’ favorite books that year. Norman Bryson, Cambridge University Press, Cambridge, 1988, p. 121. Change ), You are commenting using your Google account. Hegel, the exponent of philosophical dialectics, is the inspiration behind this picture. Thereby it has lost for us genuine truth and life …”. And the pauses and hesitations in Magritte's method – the 100 to 150 sketches he took to get it right – arise because at the same time the line is both. Is not that passage from the mark or stain to the object we see there the very passage implied in all painting? He would have been delighted, I think, or amused (as on vacation), and I call the painting Hegel's Holiday." But, again, what explains this delay, the time it takes for that final "solution" to be found, is that, if he has to wait until he recognises that line which expresses this memory, he also cannot know what this memory is until he sees it as this line. Hegel's Holiday is a delight a stitch in perle cotton or silk threads! Solid colors: 100% Cotton; Heather Grey: 90% Cotton, 10% Polyester; All Other Heathers: 50% Cotton, 50% Polyester / Imported / Machine wash cold with like colors, dry low heat / The original artwork from Rene, also known as with Wind, song, images. This is why we cannot decide in Magritte's paintings– despite their critics and despite even Magritte's own statements – whether the objects brought together are the same or different, whether their metaphoric spark arises because it reveals a hidden affinity or a secret opposition. "Hegel's Holiday" is the title of René Magritte's painting from 1958. It is because of this metaphor or transport in Vermeer's painting that we can go from one world to another, from the prosaic and fallen things of this world with which the girl is surrounded to their secret and spiritual equivalent in either word or representation (for example, as tapestry) in another. Share this: Click to share on Twitter (Opens in new window) Click to share on Tumblr (Opens in new window) Click to share on Reddit (Opens in new window) Click to … 1 See on this Son of Man (1964). But this would also mean that, if we cannot say what third thing those other two resemble, we cannot say what either of them is before this comparison. Here too, everything pivots around an empty point, a stain that allows the four quadrants into which the painting has been divided to communicate with each other, initiating a measure or scale between them. This is what representation is: 10] Perhaps we see this sovereign crowned in Hegel's Holiday, crowned precisely with the transparent ring of a glass of water, testament to his power to make things appear by himself disappearing. There is no escape from the confines of this world, from the endless comparison of the same, which Foucault calls similitude. And this, to conclude, might be what we mean by Surrealism: that more than real thing suspending our belief, which is neither simply fictional nor real, but surreal, above the real, sitting on top of the real – which creates the real, that series of comparisons or resemblances that make up the real.

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