The Human Condition - René Magritte

These paintings, always bearing the same title, each present a easel mounted with a canvas of a recently completed work.

The scene being portrayed, is partially covered, giving the illusion that the canvas becomes transparent in the composition.

The scene presented shows an easel placed inside a room and in front of a window.

The easel has a painting without a frame of a landscape that seems to be linked to the landscape viewed from the outside of the window in every detail.

Initially, it is assumed automatically that the painting on the easel represents the part of the landscape outside the window that is hidden from view.

However, upon reflection, it becomes apparent that this assumption is based on a false premise: namely, that the images in the painting are real, while the painting on the easel is a representation of that reality.

In fact, there is no difference, because they are part of the same painting, the same artistic fabrication.

Perhaps it is in this repetitive cycle, in which the viewer, even against their will, observes one as real and the other as representation.

In the two paintings we present, the contour of the easel is almost imperceptible, which was interpreted by some as showing the thin line between reality and perception.

The fact that the painting in the image is partially covering the chosen subject by Magritte, may be significant because it is a recurring theme throughout his career.

It is believed that for the artist, whose external behavior has covered a very different interior, this may be the inspiration for these works.

Magritte believed that reality is a matter of perception.

For example, in both paintings of The Human Condition, the viewer is prevented from seeing the real subject being painted, because it is blocked by the artist's painting of the subject.

We are only allowed to see what is permitted.

Magritte said about life:

"Time and distance lose relevance as perception moves forward."