Jennifer L. Giroux
October 22, 2012
Analysis of " La Carte Postale” by Rene Magritte
This kind of paper is going to discuss the painting " La Planisphere Postale” by Rene Magritte. It will compare and contract the primary interactions of centering and deciphering, position compared to movement, organic and natural versus geometric, high definition versus low classification and formal versus relaxed relationships since the basis for analysis.
" La Reproduction Postale” is actually a formal portrait with a good sense of position. This paper can support this and recommend in detail that it must be formal since Magritte has made a strong focus on position, emphasis and preparing involved in the design process of the principal object from the painting. Yet at the same time Magritte has used the interplay of other major relationships such as high and low classification, light and dark, target and scanning in the middle and background.
In theory if a painting suggests on its own to be formal, it will have a very good emphasis on location, focus and planning (3). It will also include a strong central axis. This kind of painting has a strong central axis going directly through the apple and the man. You can imagine the central vertical axis going down through his backbone. By looking at this we can conclude one motif in the analysis of " La Reproduction Postale” by simply Rene Magritte that is that a formal painting.
The primary concentrate of the this art work is the apple located in the most notable central part of the image. The apple is situated on a both a central horizontal and a central vertical axis. Although the apple is an organic item, it can be nearly a perfect circle lending to the interaction of geometric and organic and natural relationships. The man and the apple are an sort of the accommodement of objects (4). The apple is the focal point with this painting and this lends to the idea of a very good sense of position. As a result of size of the apple, Magritte has used placement as the only most important interplay of main relationships. When a viewer discusses this portrait the eye...
Sources: 1 . Barrett, T. (2003). INTERPRETING ARTWORK: Reflecting, Questioning, and Reacting (Book). Web pages 2-12; twenty one; 25-28; thirty-three; 89
2 . Gablik, Suzi. Magritte. (1985). Pages 183-187
3. Paratore, Philip. Handouts. 2012 LCC250g