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René Magritte
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René François Ghislain Magritte (November 21, 1898 – August 15, 1967) was a Belgian surrealist artist. One of the most prominent Surrealist painters whose bizarre flights of fancy blended horror, peril, comedy, and mystery. His works were characterized by particular symbols—the female torso, the bourgeois “little man,” the bowler hat, the castle, the rock, the window, and others.
René François-Ghislain Magritte was born on November 21st, 1898, in Lessines, Belgium, the eldest of three boys. Even at an early age, he liked to draw, and was encouraged to do so by his father Léopold. He later started painting at the age of 12. Régine Bertinchamp, Magritte's mother, suffered from depression; one night, while the rest of the family was asleep she fled to go to throw herself over a bridge, into the river Sambre. A few days later, her body is found floating, her face covered by her nightgown; René, who was then only 14, was deeply scarred by the image, which was later going to reappear in some of his works (The Heart of the Matter (1928)).
At the age of 16, Magritte met Georgette Berger, the girl who would be his future wife and creative muse. A year later, in 1914, he left Georgette behind, and he enrolled at the Academy of Fine Arts in Brussels to learn how to paint with all the "proper" techniques usually attributed to artists who worked in the figurative style, his plan was to master these techniques before breaking free of them. He would not see his beloved Georgette again until 1920, when by chance he would meet her at an art supply store.
While studying at the Academy of Fine Arts, Magritte met many artists who would influence his style, amongst them were E.L.T Mesens, Pierre Flouquet, and Piérre Bourgeois.
E.L.T. Mesens
1916-20
Magritte's best friend is the young poet Pierre Bourgeois, of whom he makes several portraits. They become interested in modernity and the Italian Futurists and invite Theo van Doesburg to give a lecture on the Dutch movement The Style.
Theo van Doesburg
"Theo van Doesburg tried from 1915 to 1917 to bring in new members for an alliance of Dutch artists. The purpose of the alliance was to stand up as a group instead of standing up as individual artists. In 1917 the first number of the magazine 'The Style' was launched. The idea for this magazine came from Theo van Doesburg. It was meant for explaining his own work as well as the work of the other members of the alliance. For them the magazine was an instrument to discuss new modern art and to spread their own ideas.
Still there are several points of view about the origin of The Style.
If we look at the date of foundation, the first World War, we can point out the endeavor of the society as base of the origin. At that time it was very chaotic in Holland. The people wanted peace, rest and harmony again. The members of The Style tried to reflect in their work what in the entire social development could not be achieved, The Ideal Harmony.
If we look at the former art periods, The Style seems a logic outcome of the Cubist period (1907- 1914). The Cubist artists tried to order the reality. The result of ordering the reality often looks like a harmonious totality. The cubists however, still used identifiable figures and elements in their paintings; their paintings were still telling something. The Style carried the principal of ordering the reality through, by ordering the reality even further. The paintings made by members of The Style do not show identifiable figures at all. These paintings have a non-telling character, but are still understandable and reflecting something.
The Style did not restrict itself to the art of painting. The members wanted to realize the principals of The Style in many different artistic areas, such as architecture, sculpture, design, etc.
Theo van Doesburg actually wanted to call the magazine 'The Straight Line', but influenced by the other members the name became 'The Style' after all. The members thought that the word 'Style', preceded by the the word 'The' , suggests that it is the best, possibly even the only style, usable in the modern art and society".
Magritte also showed some interest in the Futurist movement, and Cubism,
as it is seen in Nude (1919), but it was when he discovered Giorgio De Chirico's surrealist works that he found true inspiration. It was from this inspiration that Magritte decided to make each of his painting a visual poem; a quality he found present in De Chirico's works.
He is deeply affected by Song of Love (1914) by Giorgio de Chirico.
Giorgio De Chirico
1920
Magritte's exhibits his first Futurist-inspired paintings along with works by the painter Pierre Flouquet.
Pure geometric abstraction seems too radical to Magritte who begins to search for a different pictorial language, finding it in Cubism and Futurism.
Again meets Georgette Berger.
Georgette Berger
In June 28, 1922, René Magritte married Georgette Berger, wallpaper artist. Georgette becomes his model and chief inspiration.
Georgette and René
Works as graphic artist. He mainly draws motifs for wall-paper.
At that time, he develops a profound dislike for the decorative arts. He later would state: "I detest my past, and anyone else's. I detest resignation, patience, professional heroism and obligatory beautiful feelings. I also detest the decorative arts, folklore, advertising, voices making announcements, aerodynamism, boy scouts, the smell of moth balls, events of the moment, and drunken people."
He also becomes friendly with Victor Servranckx, who had developed a very personal geometric-abstract style. This style becomes the beginning of a new direction for Magritte.
1922-23
Creates his first really outstanding works which are characterized by Cubo Futurist reminiscences, as in The Station (1922)
and the presence of a very sensual representation in which women and colors are the dominant elements, as in Donna (1923)
The graphic structure of this composition (simple shapes outlined in clear manner and the almost entire renunciation to the representation of the space depth) remembers the decorations and the posters of the art Déco.
He realises that resorting to abstraction has not enabled him to 'make reality manifest.' What he wants to establish is a disturbing relationship between the world and objects.
1925
Magritte decides "only to paint objects with all their visible details". By placing them in situations which are unfamiliar to the spectator, he "challenges the real world". Magritte abandons the plastic qualities of pictorial art in favor of a more remote, colder style that portrays images from which all aestheticism had to be banished. Nocturne is one of the first works to reveal this change of emphasis. The work contains elements from the iconography that Magritte recognises for the first time and which he will use throughout his life: the painting within a painting, the bird in flight, and fire, adding to the stage curtain and to the wooden bilboquet.
Completes Woman Bathing, The Window
1926
Completes Left Behind by the Shadow, The Difficult Crossing, The Forest.
Completes The Lost Jockey (1926) which, according to Magritte years later, was a critical milestone in his entry into Surrealism. The piece has a mysterious feeling, an anxiety without reason. This feeling of anxiety, which manifests itself in dark tonalities and mysterious juxtaposition of objects, first appears in his work in the mid-1920s.
1925-1930
Magritte begins combining words and images in his paintings. These word-pictures are not mere illustrations of an object or a concept.
On the contrary, his work is intended to gently destabilize our mental habits of representation.
Magritte elaborates on a didactic classification of this type of painting, the simplest which consists of denying an images through words, or vice versa.
1927
Magritte and Georgette move to Paris to be closer to where it all happens. He starts to take part in the activities of the Surrealists and becomes friends with Andre Breton, the self-appointed leader of the Surrealist movement, and Paul Eluard, Salvador Dali, and other artists and writers who were part of the surrealist movement in Paris.
Andre Breton Paul Eluard Salvador Dali
Magritte held his first one-man exhibit was in Brussels in 1927, and as it was with his contemporaries, his art drew the ire of the critics and the conservative art crowd. But what made Magritte's work so special was his incredible skill at painting realistic objects and figures. The critics could not deny his talent, nor could they dismiss his work as an exercise in "laisser-faire". Like De Chirico, and Dali, he was a true technician, and a technician with soul. What set him apart from the other surrealists was his technique of juxtaposing ordinary objects in an extraordinary way; while Dali would "melt" a watch, playing with the consistency of an object (amongst other things), Magritte would leave objects intact, but play with their placement in reality, playing with logic. This technique is sometimes called Magic Realism. Of course, what really upset the critics was that Magritte's art did not provide answers, but only confusion, and questions as to why...
Photomontage were great enthusiasms of the surrealists in mid 1920s Paris. The Révolution Surréaliste included quite a number, including two by Rene Magritte. These made use of photomontage mainly to juxtapose incongruous objects (such as putting cows at stream edge before the Paris Opera--this by Magritte!). See Dawn Ades, Photomontage, p. 136. In some of his "experiments" with representation in the later 1920s, however, he discovered gradient blending of objects which normally appear with edges. This allowed him to avoid the edge or seam with composite objects. In these experiments he merged wood planking into sky (i.e. one background into another)("The Passion for Ideas," (1927) and The Cultivation of Ideas (1927)).
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The Surrealist movement declared the irrational and contradictory a virtue. It was an attempt to explore the subconscious and to cause one to gain insight into the human mind. Magritte remained one of the major representatives of surrealist art until his death on August 15, 1967.
There were two main forms of surrealist art. The first was called organic or biomorphic and involved "automatic" drawing and calligraphy as a way of expressing the subconscious freely. Magritte was a member of the second branch which created more concrete and dream-like images. This second group created works which could be paradoxically considered to be realistic representations of the absurd or impossible. René Magritte was a master of this second form. The members of this second group were heavily influenced by De Chirico.
De Chirico was a painter and his works were a major influence on Magritte. Despite the fact that De Chirico's works were such an enormous factor in the development of Surrealism, and of Magritte's work in particular, the admiration and regard the Surrealists showed for De Chirico's pictures was not returned. De Chirico considered the surrealist movement a joke in light of the fact that his works were considered so important to the formation of this movement.
Another major influence on Magritte's work was a cinematic one. A five-part serial, "Fantomas", by the French movie-maker Louis Feuillade was the main cinematic influence on Magritte . This series of films (taken from novels of the same name) dealt with a character named Fantomas who captured the imagination of Magritte as well as many other surrealists. Fantomas was a "genius of evil ". He could commit grisly and brilliant crimes without leaving a trace . It is clear that Magritte was fascinated by the character of Fantomas. One of the rare occasions in which he made direct use of a source was in The Backfire or The Return of the Flame (1943)
and this was almost a direct copy from one of the covers of the Fantomas. In fact, the only change that he made was to replace the dagger in Fantomas' hand with a rose.
In another painting , The Threatened Assassin (1926), Magritte painted another episode from Fantomas . In this painting there are five men waiting outside of a room which contains the nude corpse of a woman and an unperturbed man standing by a gramophone. Fantomas strikes again.
At:
>>Subject: it's a sex murder story, and is typical in the work of Magritte, the picture is a puzzle that cannot be solved. In the center of an inner room, we see a woman's nude body lying on the divan. A towel is placed over her neck, but that does not prevent us from determining that she has been decapitated. All is still now; the only trace of the bloody deed is evident in the blood that trickles down from her mouth. But who killed her? Could it be the man holding a club outside the open doorway, or the man on the other side holding a net, as if waiting to trap someone? Could it be the man inside the room, who has turned his back on the nude woman to stare intently into the phonograph? His overcoat is thrown over a neaby chair and a suitcase is all packed, ready to go. Out the window, three men poke their heads up to look inside. What did these three voyeurs witness? The scene presents us with a narrative puzzle that cannot be solved; instead, we only come up with more questions. Magritte's pictures are always violent in some way; though he never really shows an act of violence, he does violence to our accepted ideas and conventions in the way he undermines the reality we take for granted. Behind those proper bourgeois suits and bowler hats, a crime of desire is lurking. Magritte hints at a latent vs. manifest content. He is the secret agent man, the sabateur who sabotages our sense of security about the reality of appearances. <<
The influence of the cinema was further evident in Magritte's work in his use of multiple images.
For example, a Magritte painting called Man Reading a Newspaper (1928)
distinctly suggests the frames of a movie film. All of this demonstrates that the cinema had a remarkably strong influence on the works of René Magritte.
>>Magritte’s disconcertingly dead-pan style is seen clearly in these four simply-painted scenes, which seem to be indistinguishable apart from the disappearance of the man of the title. They suggest a subverted comic-strip and, indeed, were based on an illustration in a popular health manual. There are slight changes of perspective between the four panels, which add to the disquieting effect, and may relate to the displacement of images in early 3-D viewing devices. This subtle undermining of the everyday was characteristic of Magritte and his Belgian Surrealist colleagues, who preferred quiet subversion to overt public action.<<
Magritte brought to surrealism a style which was uniquely his own. Magritte painted objects with an almost photographic accuracy but placed them in unreal relation to one another. By using only familiar objects but bringing them together in such unreal ways, Magritte was able to create something unfamiliar and startling. Magritte wanted to make the viewer question the nature of accepted reality. By creating works that demonstrate that some part of the world can be irrational yet coherent, Magritte throws all "reality" into question. The human mind itself is what creates the magic of Magritte's work because that is where the twisting of consciousness and accepted reality actually takes place. This effect is immeasurably enhanced by Magritte's scrupulous depiction of appearances. By giving his impossible creations an almost photographic reality, the human mind is startled into the contemplation of what is real. The brain is challenged to actually consider that which is so basic to its concept of the world as to never before have required any real thought.
René Magritte's style of painting resulted in his being called a "Father of American Pop Art" in 1961. He, however, was not pleased by this association. He felt Pop Art was a joke and used the term sugar-coated Dadaism to describe it. His resentment of being associated with a movement which credited him for his immense influence upon it is certainly ironic in light of the fact that his feelings for American Pop Art exactly mirror those De Chirico had for Surrealism and Magritte.
René Magritte was an artist who took mundane objects, pulled them through his imagination and forced them out the other side in such unreal combinations and relationships that they could cause the viewer to question the very nature of reality. His works were efforts to overthrow the sense of the familiar. He was one of the greats of the Surrealist movement and it seems likely that his works will only gain in popularity over time. He was a maker of visual puzzles which never fail to provoke thought in the viewer".
Sources Used In Compiling This Essay :
Gablik, Suzi. "Magritte " Thames and Hudson, London. 1970.
Hughes, Robert. "The Shock of the New " Alfred A. Knopf, New York. 1981
Muller, Joseph-Émile."Modern Painting III Expressionists to Surrealists " Tudor Publishing Co., New York. 1965.
Waldberg, Patrick. "Surrealism " McGraw-Hill Book Company, New York.
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1928
Magritte is preparing Attempting the Impossible (1928)
By referring to the myth of Pygmalion, the painter represents a painter trying to paint in the air, as though it were a sculpture, a woman’s naked body. Only an arm is missing, that is true – but this arm will be missing forever.
Once again, he merged one background into another, into a woman's naked body: The Discovery (1928).
"Magritte makes us believe that seeing is touching at distance. He painted a visual metaphor about the tactility and softness of a woman's skin. The woman's body has been transformed, here and there, gradually into the graininess of a wooden structure. The canvas becomes a living surface, the image presents a metamorphose —a morphing of meaning. The merging forces the eye to think in a completely different way. Magritte creates multiple ways of seeing things simultaneously. Magritte shows us the impossible in the possible. The paintings of Magritte emerge from the mysteries of reality and the visible world around us".
This merging , he declared excitedly in a letter to Paul Nuogé, forces the eye
to think in a completely different way. It did not become a favorite technique of his, however, and the reason can perhaps be grasped from "The Discovery," which perhaps is not one of his most successful paintings.
The Titanic Days (1928)
One of the images more worrying and violent of all the Magritte's work. In the bulky shape of a woman that is struggling, the artist draws two figures: a man that is attempting to rape a woman, where he advances and she rejects him. The two bodies united in a same figure and the contrast between the clear skin of the woman and the dark color of the head, of the shoulder and of the arm of the man give to the painting a harsh animation. Magritte wrote:" I treated this subject, this fear that grasps the woman, using a subterfuge, the contrary of the lows of the space. ...the discovery is in the fact that the man is superimposed to the outline of the woman". The dark siluette of the aggressor follows the shape of the body of the victim. This gives the sense of the total control, like if he was already become part of her, like a success in his attempting the impossible.
1929
Travels to Cadaques to stay with the Surrealist painters Salvador Dali, Joan Miró and the Surrealist poet, Paul Eluard for a holiday.
Joan Miró
Completes The Treachery of Images (1929), the famous 'pipe' picture:
"But this is not a pipe since we can not smoke it. It is only a representation of one. Magritte also first uses another technique around this time: that of representing a familiar object and given it a name other than its conventional one. Through this gallery of word-paintings, Magritte plays on the discrepancies, paradox, clarity and obscurity of common sense. The question remains as to whether the words actually represent what we think. As a result, the painting becomes a type of language.
Dali is perhaps the only other surrealist who's work could be compared to Magritte's. Both shared impeccable technique, and a great sense of humor. Another thing which may have angered critics was Magritte's "parodies" of famous paintings; like other surrealists, his irreverence and contempt for the norm was quite apparent in his work. It is evident that the humor magazines such as Harvey Kurtzman's Mad, and comedy troupes such as Monty Python owe much to the surrealists".
1930
The Annunciation (1930)
"The objects in this painting appear to be a metal sheet with bells, a paper cut-out and two balusters (Magritte referred to similar objects in his paintings as bilboquets, a French stick and ball game). Their enlargement and conjunction with the landscape creates a feeling of incongruity recalling the experience of dreams. In titling this work The Annunciation, Magritte may have been alluding ironically to the hostility towards Catholicism shown by the French Surrealists. But the title also suggests that something is about to happen, an expectation that is central to the eerie quality of this strange landscape".
"In its turn, Magritte's L'Anonciation (The Annunciation, 1930) contains no explicit reference to the passages in Luke's Gospel. Nor would Magritte have conceived the picture to operate on a theological level. Yet Paul Nougé, who likely titled the picture after Magritte sent him a sketch of it (Whitfield 55), understood its potential in those traditional terms. Magritte often asked for or permitted his friends to suggest titles for his pictures. His solicitation and acceptance of their ideas indicates the extent to which Magritte acknowledged his pictures' affective operation and the importance of reception as a vital contribution to the meaning of his art. In the case of L'Anonciation , it furthermore indicates Magritte's awareness of the Biblical narrative as an established and oft-illustrated subject for visual artists.
Taken apart from its title, however, Magritte's painting retains the potential to startle and mystify. As an example of Magritte's anachronistic realism, L'Anonciation is painted so that each detail is asserted with equal lucidity and imminence. A large portion of the painting's surface is occupied by the cluster of strange, vertically oriented elements that comprise its central focus. Hemmed in by shrubs and ragged boulders, these elements are obviously artificial, and may be taken as architectural (the grelots-adorned, metallic-looking screen), figural (especially the pair of bilboquets), and/or a combination of both (the pierced-paper screen). Dominant by dint of its scale, placement, and bold contrasts of light and dark, this bizarre cluster suggests a ruin akin to an ancient temple in the jungle (Whitfield 55). Another possibility is its resemblance to an abandoned commercial/industrial site, the sort stumbled upon in most urban areas. In any case, its monumentality and immediacy, beneath a muted, Netherlandish sky, stimulate wonder".
The Key of Dreams (1930)
Subject: In the "Key of Dreams," the signifier and the signified don't match up; word and concept don't agree. Under the picture of the shoe, for instance, is the French word for "moon," and under the black bowler hat is the French word for "snow." In this slippage between signifier and signified, Magritte points out the artificiality of the pictorial sign and the instability of language as a communicating system. What is the link between a word and the object, idea, or feeling it identifies? Signifiers take on meaning only by convention, not by any natural law or firm connection to the external world or the thing itself; there is no absolute foundation underlying language or sign systems. "Pain" in English signifies a hurt or suffering of some kind; in French, the very same signifier, "pain," means bread. As usual, Magritte's art makes us question the reality we take for granted. He messes with the system of things: his art points to an underlying disturbance rather than an underlying order (Mondrian).
Style: Magritte uses a realistic style to de-rail or sabotage reality. He employs a lucid dream technique by using an almost trompe-l'oeil style that on the surface seems innocent enough, but that covertly undermines the reality we take for granted. Without interfering with the shape of things, he interferes with the system of things. He is precisionist in technique, using a seemingly straightforward, descriptive, textbook style, not unlike a child's primer, but his content is always a disturbing riddle. Precision, rather than alleviating fear, ends up being the cause of added fear and apprehension. Trompe-l'oeil (trick of the eye) and trompe-l'esprit (trick of the mind) become his strategies for upsetting the assured mindset that we bring to viewing reality. And reality, as a result, turns out to be a much more complicated thing than we might have suspected. Magritte's highly realistic images end up undermining the authority and certainty of an external world; we start to suspect that the world might only be an extension of what is taking place inside our own heads. "We see the world as being outside ourselves, although it is only a mental representation of it that we experience inside ourselves." Magritte pits the rational, reasoning mind against the imaginative and fantastic with no way to resolve the conflict. He is determined to fight reason with its own weapons. Reason always tries to make things determinate, to pin them down definitively. His pictures resemble dreams of reason with a frightening precision that ends up backfiring, throwing reason itself, and reality, into question. Quite simply, he creates picture puzzles that cannot be solved or destroyed by reason alone.
Context: Magritte is a surrealist in the way his puzzling images undermine reason, language, and the reality we take for granted. His realistic style and surreal content place him in the camp of Dali and others who use reality against itself, as opposed to the more abstract dream imagery of Miro. Magritte lived in France for 3 years and was an active participant in Surrealism. His work is sometimes called "Magic Realism" in the way his precisionist, trompe-l'oeil style yields puzzling pictures that reason alone can neither solve or destroy. As with all the surrealists, his work touches on how reality itself might only be a dream and, conversely, how our dreams and desires are the stuff of which reality is made. "If the dream is a transcription of waking life, waking life is also a transcription of the dream."
Magritte still waits to have a one-man exhibition. Paris is in the midst of recession. The effect of the economic crisis is all too apparent to the artist. His friend Goemans is forced to close his Paris gallery and collectors and galleries become bankrupt. Magritte no longer has a steady income and his relationship with Breton has deteriorated as a result of their different interpretaions of Surrealism and what path if any it is taking. Discouraged, he returns to Brussels and turns to commercial work.
1930-1939
A network of friends and sponsors support him and enable him to sustain his daily life and to exhibit on several occasions at the Palais des Beaux Arts. Magritte is able to pull through these difficult years. At the same time he is earning a reputation abroad and his work is being exhibited in one-man shows or in group shows with other Surrealists in London, New York and Paris. Magritte shares the Surrealist concept of the power of desire and eroticism to 'change life' and wants to translate this idea through his use of unconventional images.
He continues to involve metamorphosis in his work:
The Collective Invention (1934)
Magritte creates a new genetic order: living statues, birds that are leaves, men of stone, and sirens with the head of a fish and the legs of a woman, as in The Collective Invention (1934). These new species connote an inherent world mystery as well as a wry sense of humor. The Saudis picked up on this wry sense of humor when they sold thousands of postcards of The Collective Invention with a caption stating that this was the picture of a real siren washed up on a beach of Saudi Arabia.
In Black Magic (Magie Noire, 1933/34): a naked woman leaning on a rock gradually merges into the blue sky. The painter is, nevertheless, distrustful of the obvious seduction of 'pretty colors'.
The Red Model (1934, 1937)
"The Red Model, with its virtually flat perspective and matter-of-fact style, consolidates two apparent opposites through an open visual riddle-an obvious metaphor. It shows inside and outside simultaneously. A few years earlier, in 1933, Magritte had painted a door that was open and closed at the same time, in The Unexpected Answer. The Human Condition, painted that same year, shows a landscape painting on an easel in front of a window facing the same landscape: the scene is both inside and outside at the same time. These paintings and The Red Model are thematically related. Magritte demonstrates how easily the viewer confuses the image, as a depiction, with the reality it both describes and obscures. His works are like a link between what is and what we see. Magritte expresses scepticism, doubt, and not always mild irony about the conditions of the mind".
In The Rape (1934)
he even pushes it to the point of obsession with the features of a woman's face replaced by sexual attributes: breasts, belly button and pubic hair.
To avoid a scandal this painting is hidden by a velvet curtain at the Minotaure Exhibition in Brussels.
>>Subject: In "The Rape," Magritte makes use of the strategies of Freudian dream logic--displacement, condensation, and fetish--to create a disturbing image of the surrealists' favorite subject: woman, who Andre Breton called the "most marvelous and disturbing problem in all the world." The implication here is that she is marvelous precisely because she is so disturbing, so the "woman problem" was certainly not one the surrealists wanted to solve. And in images like "The Rape," they do a good job of making the woman appear as disturbing as possible. Here Magritte substitutes the woman's erotic zones for her facial features in a classic example of the surrealist aesthetic of "convulsive beauty." Breton had already proclaimed that "beauty must be convulsive or it will not be at all." Here the desiring body takes over the subject, or the subject--woman--becomes the projection for another's desire, that of the male surrealists. Magritte's pictures are always violent in some way; though he never really shows an act of violence, he does violence to our accepted ideas and conventions. Magritte messes with the system of things: his art points to an underlying disturbance rather than an underlying order (Mondrian). He is the secret agent man, the saboteur who sabotages our sense of security about the reality of appearances and the appearance of reality.
Style: Magritte uses a realistic style to de-rail reality. Without interfering with the shape of things, he interferes with the system of things. Here he makes bold use of the strategies of Freudian dream logic:
1) he exploits irrational juxtapositions by displacing the erotic zones from their normal context and re-situating them where they clearly do not belong; 2) he condenses two dissimilar things--the erotic zones with the woman's face--to form one composite image; and 3) he turns the woman's face into a highly eroticized fetish object. Magritte is precisionist in technique, using a seemingly straightforward, descriptive style, but his content is always a disturbing riddle. Precision, rather than alleviating fear, ends up being the cause of added fear and apprehension. Trompe-l'oeil (trick of the eye) and trompe-l'esprit (trick of the mind) become his strategies for upsetting the assured mindset that we bring to viewing reality. And reality, as a result, turns out to be a much more complicated thing than we might have suspected. Magritte's highly realistic images end up undermining the authority and certainty of an external world; we start to suspect that the world might only be an extension of what is taking place inside our own heads. "We see the world as being outside ourselves, although it is only a mental representation of it that we experience inside ourselves." Magritte pits the rational, reasoning mind against the imaginative and fantastic with no way to resolve the conflict. He is determined to fight reason with its own weapons. Reason always tries to make things determinate, to pin them down definitively. His pictures resemble dreams of reason with a frightening precision that ends up backfiring, throwing reason itself, and reality, into question. Quite simply, he creates picture puzzles that cannot be solved or destroyed by reason alone. <<
"We approach to the love across the face and the love comes satisfied in the body. For this reason the wonderful love is for the woman in its entirety, face and body together, nevertheless unmistakably for her only. The superimposition of the face with the torso instead (the bosoms look at you, the nose wastes away until to become the navel, the mouth-pube seems to twist itself in a tortured grimace) - far off to be the spiritualization of the body - means rather the humiliation of the sexual object: blinded, deaf and mute." Magritte
A psychoanalytic essay at:
>>It's an image he (Magritte) drew many times slightly differently, and which other artists have used as well, It's a much more disturbing picture; we expect to see a face and see something different. .....................................<<
The Human Condition (1933, 1935)
>>Subject: In the "Human Condition," reality is pitted against its representation to see how well they match up. The painting of a landscape is placed before the window that opens up onto the landscape and the two appear to line up perfectly, except for the nagging suspicion that the so-called reality against which we measure the painted representation is nothing but a representation itself. What is the relationship between reality and image? Magritte makes us question whether the external world we take for reality is not merely an image itself. He messes with the system of things: his art points to an underlying disturbance rather than an underlying order (Mondrian). "Pictorial experience which puts the real world on trial . . ." He is the secret agent man, the sabateur who sabotages our sense of security about the reality of appearances and the appearance of reality. <<
"The Human Condition displays an easel placed inside a room and in front of a window. The easel holds an unframed painting of a landscape that seems in every detail contiguous with the landscape seen outside the window. At first, one automatically assumes that the painting on the easel depicts the portion of the landscape outside the window that it hides from view. After a moment's consideration, however, one realizes that this assumption is based upon a false premise: that is, that the imagery of Magritte's painting is real, while the painting on the easel is a representation of that reality. In fact, there is no difference between them. Both are part of the same painting, the same artistic fabrication. It is perhaps to this repeating cycle, in which the viewer, even against his will, sees the one as real and the other as representation, that Magritte's title makes reference".
Clarvoyance (1936)
a self-portrait
 In the painting "Clairvoyance", he is seated at his easel painting a bird on a large canvas, while studying an egg that is poised in the foreground before him. He is painting an egg, but the egg is yet a bird.This self-portrait of the artist as a clairvoyant able to perceive the future eerily describes Magritte’s own exceptional, intuitive vision concerning the future of art.
1940
The 2nd World War is in full swing and the mighty German army has swept into Belgium. Magritte goes through a crisis resulting not just from the German Occupation but his precarious financial situation and a dissatisfaction with his painting. He decides that a feeling of pleasure and an atmosphere of happiness has to predominate over the sense of anxiety and suffocation which had previously inhabited his work.
In order to show the 'bright side of life', Magritte thinks about changing his iconography and begins to paint leaf-birds.
1942
Leaf-birds are used in two works, Treasure Island and The Companions of Fear.
1943
He is struck by a reproduction of Pierre Auguste Renoir's Bathers which leads to a decisive transformation in his work. Enticed by the sensuality of the colors, he opts for a more luminous palette. While continuing to draw objects and figures with the meticulousness for which he has become known, he adds to them a touch clearly inspired by Impressionism, unleashing colour in new, warmer and more cheerful tonalities. Magritte calls this period his Sunlit period.
1947
Phylosophy in the Boudoir (1947)
>>Philosophy in the Boudoir (1947) salutes the Marquis de Sade. The undecidability of perception within this painting is typical of Magritte's art and we are hard put to choose between breasts and nightgown, between feet and shoes, between body parts that are alive and objects that are not.<<
Alexander Iolas, who became Magritte's principal dealer in the United States, successfully exhibits the artist's work in New York. Iolas then suggests that Magritte forget Renoir and focus his output on images which overwhelmingly appealed to the public, like Treasure Island. Obligated to come to terms with the necessities of life, Magritte creates new combinations out of old images.
1948
Completes Megalomania which reveals similarities with The Marches of Summer (1938-1939): a female torso (now in three parts), weightless cubes, blue sky with clouds and a parapet.
1949
Completes The Domain of Arnheim (1949), a work originally painted in 1936.
Surrealists attributed a privileged role to eggs and to stones. The Domain of Arnheim is a kindred painting in which the mountain resembles a bird. In the foreground is a nest of eggs, and the slippage of meaning between the stone bird and the eggs on the wall suggests that the mountain in the background might have laid them.
Magritte enjoys the game of juxtaposing and manipulating motifs. An image could exercise such powers of seduction that the painter felt compelled to reproduce it many times. Rather than falling into repetitive indifference, he excels in revisiting work in this way.
Nowhere is this more evident than in The Dominion of Light, an evocation of the simultaneous presence of day and night, a magnetization of the contradictions dear to the Surrealists. There are sixteen versions of this work.
"In Empire of Light, numerous versions of which exist (see, for example, those at the Museum of Modern Art, New York, and the Musées Royaux des Beaux-Arts de Belgique, Brussels), a dark, nocturnal street scene is set against a pastel-blue, light-drenched sky spotted with fluffy cumulus clouds. With no fantastic element other than the single paradoxical combination of day and night, René Magritte upsets a fundamental organizing premise of life. Sunlight, ordinarily the source of clarity, here causes the confusion and unease traditionally associated with darkness. The luminosity of the sky becomes unsettling, making the empty darkness below even more impenetrable than it would seem in a normal context. The bizarre subject is treated in an impersonal, precise style, typical of veristic Surrealist painting and preferred by Magritte since the mid-1920s".
(by Lucy Flint, Guggenheim Museum)
While René Magritte's art may have been frowned upon by some, his skill as a painter found him many admirers. In the late 1940s, Magritte experimented with a different technique, which he premiered at an exhibition at the Galerie du Faubourg, in Paris. Of course, by then, his fans had grown accustomed to his previous style, and did not appreciate the new direction he was taking. Discouraged by horrible reviews, he returned to his trademark technique, a sad bit of irony, especially in light of Magritte's contempt for the nostalgic.
1952
Les Valeurs Personnelles (Personal Values, 1952)
>>Subject: In "Personal Values," Magritte again makes use of the strategies of Freudian dream logic--displacement, condensation, and fetish--to create a disturbing image of reality. Here Magritte gives us an ambiguous jolt through strange displacements, odd juxtapositions, and disparities in scale. Magritte messes with the system of things: his art points to an underlying disturbance rather than an underlying order (Mondrian). "Pictorial experience which puts the real world on trial . . ." He is the secret agent man, the sabateur who sabotages our sense of security about the reality of appearances and the appearance of reality.
Style: Magritte uses a realistic style to de-rail reality. He employs a lucid dream technique by using an almost trompe-l'oeil style that on the surface seems innocent enough, but that covertly undermines the reality we take for granted. Without interfering with the shape of things, he interferes with the system of things. Here he makes bold use of the strategies of Freudian dream logic: 1) he exploits irrational displacements by bringing the outside sky into the inside room; 2) he condenses dissimilarly scaled things--intimate, personal objects rendered bigger than the furniture--to form one composite image; and 3) he turns these personal items into overcharged, overscaled fetish objects. The laws of space and scale, thus, correspond to personal desire (hence, the title, "Personal Values"). Magritte is precisionist in technique, using a seemingly straightforward, descriptive style, but his content is always a disturbing riddle. Precision, rather than alleviating fear, ends up being the cause of added fear and apprehension. Trompe-l'oeil (trick of the eye) and trompe-l'esprit (trick of the mind) become his strategies for upsetting the assured mindset that we bring to viewing reality. And reality, as a result, turns out to be a much more complicated thing than we might have suspected. Magritte's highly realistic images end up undermining the authority and certainty of an external world; we start to suspect that the world might only be an extension of what is taking place inside our own heads. "We see the world as being outside ourselves, although it is only a mental representation of it that we experience inside ourselves." Magritte pits the rational, reasoning mind against the imaginative and fantastic with no way to resolve the conflict. He is determined to fight reason with its own weapons. Reason always tries to make things determinate, to pin them down definitively. His pictures resemble dreams of reason with a frightening precision that ends up backfiring, throwing reason itself, and reality, into question. Quite simply, he creates picture puzzles that cannot be solved or destroyed by reason alone. destroyed by reason alone. <<
"is a painting by Magritte that arguably shares an even closer relationship to the fifteenth-century pictures discussed above. Like the setting for van der Weyden's Annunciation , the room Magritte painted in Les valeurs personnelles constitutes a crowded stage whose compressed space is enlivened by the play of gentle light and shadow. Space further is opened up or loosened by inclusion of fragmentary additions or extensions. There is the window light's reflection from pale and shiny surfaces, including the wardrobe mirrors, those mirrors' reflection of the window and the outdoor space it reveals and, of course, the blue sky and puffy clouds of the walls. Magritte's spatial strategy recalls the ways in which van der Weyden and his peers employed views through windows and exterior doors, glimpses into other rooms, areas beneath bed canopies, and reflections in mirrors to add to and complicate the definition of simulated space. Other similarities between Magritte's picture and many of those from the fifteenth century include the neatly draped bed and the attention to detail in the floor, with its casually overlapped Oriental rugs. The pencil, the shaving brush stop the armoire, and the large pill or pod are placed with the matter-of-fact informality of details typical to Netherlandish pictures - from intricately tiled floors to smartly plumped pillows. And, although Mary is not sitting on her bed in the Annunciation paintings, Magritte's leaning comb suggests an acquiescent, Mary-analogue - while the looming, centrally situated goblet exhibits the imminence and aplomb of the angel, Gabriel. This reception is not an attempt to rationalize or interpret Magritte's picture in iconographical terms, but to describe what contributes to its mystery. The bed and wardrobe suggest peace and privacy, security and order. The goblet is a precipitous presence in their midst, along with other elements one might not expect to find in a bedroom - not on such a scale, at any rate. The effect of this picture is unsettling and the viewer, in accepting the possibility of being unsettled, experiences mystery".
1953
Among the works by Magritte which, beginning in the 1950's, definitively ensured his international recognition, one becomes the subject of extraordinary interest. In Golconda, Magritte brilliantly unites different motifs from his repertory: small men in overcoats and bowler hats float weightlessly in a blue sky in front of facades of houses.
>>In Golconda, Magritte employs multiplication of a like image as a way to de-personalize. It appears like a late-afternoon downpour of bourgeois normality--each figure slightly different yet rendered anonymous by bowler hats and long coats. Magritte struggles against bourgeois cultural hegemony, yet he himself lived the life he mocks in his painting. After 1950, Magritte commonly appeared in photographs wearing a nondescript bowler hat like the subjects in his paintings.
He lived all of his later life in Brussels in a modest middle class dwelling, opting not to return to the artistic hub of Paris. As an explanation for Magritte's conventional lifestyle coupled with his unconventional paintings, George Melly, with the BBC, wrote, "He is a secret agent, his object is to bring into disrepute the whole apparatus of bourgeois reality. Like all saboteurs, he avoids detection by dressing and behaving like everybody else."<<
Present since 1927, this bowler-hatted figure finally finds his true dimension. He becomes Magritte's emblem par excellence. He is present in many works after the 1950's.
In 1953 René Magritte is hired by the owner of the Casino of Knokke-le-Zoute, city of luxurious baths to the Flemish coast, to realize the panoramic frescos of the "Room of the luster". This room is famous for his monumental luster, one of the bigger of Europe.
Raoul Servais, painter and film director, in 1953 will work during several weeks with Magritte, the one that at this time is not yet the sacred monster of the paint of the 20th century, but already profits of an international aura.
Raoul Servais
Raoul Servais (left) and René Magritte (third at right)
Under the direction of Raymond Art and with two other decorators and as much of attending, Servais receives for tries in June '53 to transpose in a form space circular the eight pictures to the oil realized by the "Master" the preceding month. This "The domain delighted", under entitled "surrealist Panorama". Magritte, always in suit three pieces, has a very high idea of his person. Younger of the team, Servais succeeds in overcome his timidity and dares to do some order suggestions technical then chromatic to Magritte, that this one welcomes very poorly, to the point that Servais is sent back to have passed besides a refusal of the "Master". It will be reintegrated to the team to the instance of Gustave Nellens, the director of the Casino.
This relation rather contentious between the notable one Belgian Surrealist and a young muraliste that knows this that it wants, does not prevent. Used durably to be influenced by the universe of Magritte: Servais says himself fascinated to the era by a reproduction of The Red Model (1934, 1937), the Magritte's canvas representing two "feet" that are also two shoes in front of a fence.
1958
Completes The intimate Friend with bowler-hatted figure.
1959
The Castle of the Pyrenees (1959),
>>a painting of a rock in the sky, suspended over the sea in a kind of timelessness that defies gravity. The first lines are: “It begins with a stone falling, in the silence, vertically, immobile. It is falling from a great height, a meteor, a massive, compact, oblong block of rock, like a giant egg with a pocked, uneven surface.”
The rock resembles an egg - an egg that both generates the novel and contains it. Together, the picture and the text beget a visual and writerly process, and it is not by chance that the rock has an oval shape, because Surrealists attributed a privileged role to eggs and to stones. <<
1960
Visit to André Breton in Paris. Meeting with Marcel Duchamp, Max Ernst and Man Ray.
1963
The Large Family
In this late Magritte's painting it is introduced the contour of a gigantic predator bird in flight, that it nearly seems to be cut out and glued to the sky. The marine landscape of the background is rendered with a melted and pictorial style more than how much it is not the idealized summery sky, limpid like the crystal, than it is looked at in the shape of the bird. This is a picture that reassume many senses and reasons that rerun in all the Magritte's work: the realistic representation of the sky in an unreal atmosphere, the idea to use a contour in order to frame something of different from the same contour and finally the experimentation with different scales.
But more than every other thing, this painting reassumes the theory of the "elective affinities", taken from the Ghoete's homonymous novel, than it is based on the conviction that the acquaintance is the acknowledgment of the
ties that join one thing to another thing, for which the bird in flight in the sky it becomes the same sky.
1964
Completes The Son of Man with bowler-hatted figure.
>>Magritte was fascinated by the implications of hidden things in his paintings. Often he hid the subject's face from view, blocking it with a suspended object, a drape, or some other means. He de-personalizes the human subject by masking its individualizing identifier--the face. In a radio interview with Jean Neyens, Magritte discussed his use of the hidden in his painting, "The Son of Man": "At least it hides the face partly. Well, so you have the apparent face, the apple, hiding the visible but hidden, the face of the person. It's something that happens constantly. Everything we see hides another thing, we always want to see what is hidden by what we see. There is an interest in that which is hidden and which the visible does not show us. This interest can take the form of a quite intense feeling, a sort of conflict, one might say, between the visible that is hidden and the visible that is present." Magritte toys with the notion of object permanence, a form of conditioning we all experience as infants. Experience has taught us to presume that there is a face behind the apple, so, in turn, we readily imagine a continuity to fill in the masked area. Magritte wishes to call into question the ease with which we unconsciously "fill in" what is hidden and the unquestioned faith that we place in our suppositions.<<
In later years, he was commissioned to create large canvasses for Edward James in London.
1965
The Blanck Check (1965)
"There is much that is clever here: the planking following different contours with shape and with its grain, but the wood is not a background and so seems gratuitous, not to mention producing an effect rather like an animal skin (tiger coat), so that the woman never mysteriously merges into something else and the texture applied to her doesn't look entirely like wood. The problem I think is in the outline: Magritte likes lines and outlines because they define objects and relatively clear planes in which the objects are located. That is, they help to define the visual contradictions and paradoxes that he set up for the viewer--his version of Breton's "the one in the other" game. (Magritte comes quite close to Escher at times. See his late "Blank Check".) If the outline of one object is broken by another object, we see that as occlusion, and locate the second object nearer to the viewer. Magritte's strong outline here thwarts all kinds of mythological associating with dryads and other people and spirits placed in wood or trees. To have background blend into foreground so that the foreground figure seems to emerge from the background subverts Magritte's rigor which feeds on violations of rules for the perceptual construction of scenes".

Magritte at a rodeo in Symington, Texas, December 1965
Large retrospective of Magritte's work is held at the Museum of Modern Art in New York, a clear manifestation of his worldwide recognition.
Magritte refers to his work of the latest period (1958-1965) as his 'found children'.
The iconographic elements, between them, in a reverting manner, finished by binding everything together in the last ten years of Magritte's life.
Magritte is in poor health, and exhausted from his travels. A year later, he spends Christmas and New Year's Eve in Cannes, with his beloved Georgette, and in 1967, he has a retrospective in Rotterdam, Holland, and an exhibit at the Iolas Gallery in Paris.
On August 15th, 1967, at the age of 69, Magritte dies in Brussels. Throughout his entire career, René Magritte had created over a thousand paintings, not to mention the numerous photographs, and essays which he published in art magazines. Like Salvador Dali, Magritte's work will forever come to mind when we hear the word "surreal".
"Art evokes the mystery without which the world would not exist."
(Rene Magritte)
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Philosophical and artistic gestures
A consummate technician, his work frequently displays a juxtaposition of ordinary objects, or an unusual context, giving new meanings to familiar things. The representational use of objects as other than what they seem is typified in his painting, The Treachery Of Images (La trahison des images), which shows a pipe that looks as though it is a model for a tobacco store advertisement. Magritte painted below the pipe, This is not a pipe (Ceci n'est pas une pipe), which seems a contradiction, but is actually true: the painting is not a pipe, it is an image of a pipe. (In his book, This Is Not a Pipe, French critic Michel Foucault discusses the painting and its paradox.)
Note that Magritte pulled the same "stunt" in a painting of an apple: he painted the fruit realistically and then used an "internal" caption or framing device to deny that the item was an apple. It might be true that Magritte's point in these Ceci n'est pas works is that no matter how closely, through realism-art, we come to depicting an item accurately, we never do catch the item itself, per se, as a "Kantian noumenon", but capture only an image on the canvas. But that interpretation trivializes Magritte's insight -- for it is true of any painting, and every artist and child would admit it, that what the painting does is only present an image of a thing, and the thing itself is not on or in the canvas.
It might be more plausible to interpret Magritte as commenting on Freudian psychoanalysis, a topic not very far removed from many of his surrealistic works. Sigmund Freud, especially in his dream analysis, continually asserted that what clearly and obviously seemed to be an X in a dream was not really an X, that it was an X only patently, on the surface, but not latently or deeply, that the X in the dream represented or was a metaphor for some other thing, Y. The dream-image train is really a penis, for example. So when Magritte says, "This is not a pipe," what he means is that it may be possible to think that it is only an image that stands for something else, that the phenomenal reality of the pipe obscures or hides the true reality lying underneath. The difficult question, if we go this far, is whether Magritte intended to provide support for or to illustrate sympathetically Freudian dream analysis -- the treachery of dreams -- or, instead, was mocking it: "You mean this image, which is obviously a pipe-image, is not really a pipe-image? Tell me another!"
His art shows a more representational style of surrealism compared to the "automatic" style seen in works by artists like Joan Miró. In addition to fantastic elements, his work is often witty and amusing. He also created a number of surrealist versions of other famous paintings.
Text from "Rene Magritte", by Abraham Marie Hammacher:
"René Magritte was no doubt disappointed that, aside from the small circle of his kindred spirits among the Surrealists, the world needed over a quarter of a century to discover that his work has both philosophical and poetic content which corresponds to certain social and intellectual trends, particularly of the second half of the twentieth century. Magritte's work was not easy to approach at the outset, however. He is a difficult painter, and his simplicity is misleading. A world ever more disturbed and unstable - in labor, trade, and industry, as well as in intellectual and university circles - is a world in which reason remains indispensable. Yet the irrational no longer allows itself to be thrust aside, and today it is struggling to win recognition. As a result, there is now a greater possibility, especially among the younger generation, to arrive at a better and deeper understanding of Magritte's art.
"His work makes a constant call on us to relinquish, at least temporarily, our usual expectations of art. Magritte never responds to our demands and expectations. He offers us something else instead. His friend Paul Nougé has expressed the problem better than anyone else; what he said in 1944 still holds good: "We question pictures," he said, "before listening to them, we question them at random. And we are astonished when the reply we had expected is not forthcoming."
"Magritte's work allows one to conjure up a state of being which has become rare and precious - which makes it possible to observe in silence. Reading and reflection call for silence, listening no less. Silence can be used for waiting for an illumined vision of things, and it is to this vision that Magritte introduces us.
...
"The fascinating and challenging images in Magritte's works stem from revelations of the mystery of the visible world. To him this world was a more than adequate source of lucid revelations, so that he did not need to draw on dreams, hallucinations, occult phenomena, cabalism. Nonetheless, preconsciousness - that is, the state before and during waking up - always played an important role in his work.
"In studying Magritte one begins to understand that attempting to solve puzzles must be avoided but the artist himself provides clues to his manner of painting and the mental process on which it is founded. Some are inclined to call this process "visual thinking. I prefer to give it no name. The term "visual thinking" is not subtle enough and involves too many misunderstandings regarding the possible subordination of the visual to thought, or vice versa. The misunderstanding caused by calling Magritte "cerebral" has also been demonstrated all too often, despite the unusually large quantity of literary, philosophical, and linguistic affinities Magritte's work suggests, and which bring us closer to their meaning. Also the term "literary" is a misconception in his case, although it is understandable because of the literary origins of the leading figures in Surrealism. Let us refrain, then, from favoring one formula or the other and instead take a frank look to see with whom, and with what, Magritte and his marvelous cabinet of instruments can be compared.
"The author who wishes to show complete respect for the struggle Magritte waged against faulty interpretations and explanations - and it was indeed a struggle - nevertheless finds he has to ignore Magritte's own personal ban. Even Magritte himself attempted to explain why he wanted no explanations.
"His pronounced hostility to the idea of the symbol in relation to his work, his undisguised dislike of psychoanalysis in particular, and his distrust of any and every interpretation naturally had reasons. He was defending the very essence of his work by adopting this attitude. If, therefore, we try to understand something of the meaning of his resistance - and Magritte never forbade us to attempt that - we shall come closer to his work by this roundabout way.
"Seeing, says Magritte, is what matters. Seeing must suffice. But what kind of seeing must it be? Of what quality? A form of understanding is possible beyond the confines of any verbal explanation, which, if it is of any use at all, must be authenticated by a way of seeing. Unfortunately, for a large proportion of the public, seeing is not sufficient. People often see things hastily and think about them carelessly; they have been educated in disciplines and traditions in which words represent ideas and have a dominant function. This function has left the realm of revelation beyond words neglected and unexplored.
"Magritte, who was a painter and a painter tout court, albeit an unusual one, was nevertheless more aware than any of his contemporaries of words and of the dubious status they had acquired. His consciousness of words is evident in both his writings and paintings. Dealing with words was a dangerous game to play, though, for by playing it he introduced the element "Word" into his painted "images." Thus, anyone seriously concerned with Magritte's work cannot avoid taking a thorough account of what Magritte sought of words in his work and of the value he attached to them.
"The simplicity in his work is a suspect simplicity. In his writings - which include general articles, a few literary pieces, and special articles on specific themes - and in the titles he gave to his works, Magritte was methodical, as he was in his painting. The unexpected is never mere caprice. Moreover, it resides not so much in Magritte as in ourselves. We are not prepared for, and we do not instantly grasp, his technique of thinking and painting. It is not recalcitrance on his part but a natural need to react to the stereotype phenomena of everyday life in a way contrary to expectation; it is a need to correct. What is more, in Magritte's work this became a discipline of feeling, thinking, and behaving which he discovered and evolved for himself. Accordingly, his method - others feel it was a discipline - is as valid a subject for our inquiry as the works themselves.
"Magritte attempted, as it were, to achieve a controlled resonance in his work. After he had finished a painting, it set up a resonance within him, in which he involved his closest friends. This resonance in the artist himself was necessarily different from that in us, who are the uninitiated in regard to his pictorial and verbal imagery. Yet, despite everything, Magritte probably attached more than usual importance to having people feel the right kind of resonance. That he could do anything about this himself was an illusion; the others were the critics, the art historians, the museums, the art dealers, the collectors, who play their own game with a variety of intentions.
"More often than not, Magritte chose ordinary things from which to construct his works - trees, chairs, tables, doors, windows, shoes, shelves, landscapes, people. He wanted to be understood via these ordinary things. Those who find him obscure should not forget that he had turned his back on the fantastic and on the immediate world of dreams. He did not seek to be obscure. On the contrary, he sought through a therapy of shock and surprise to liberate our conventional vision from its obscurity.
"...[L]et us therefore keep, so far as we can, to Magritte himself, to his own resonance, to his method. Even though his is a complex, sophisticated world in which we often lose sight of simplicity, we are able to find this simplicity again in the works themselves, a fact that can only increase our astonishment."
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"Though he was a prodigiously talented draftsman, René Magritte was in essence a cerebral painter; his canvases served as vehicles for the translation of abstract ideas into visual form. He obsessively replicated his previous paintings, ever attempting to resolve the expression of a particular idea through the introduction of subtle compositional changes. Such ideas were plentiful, and Magritte was consequently an extraordinarily prolific painter, creating more than a thousand canvases over the course of his fifty-year career. Magritte's paintings have an emphasis on recurring themes, including voyeurism, language, metamorphosis, enchantment, disjunction of images, and the fracturing of perception.
Unlike the French Surrealists he came to know during his stay in Paris from 1927 to 1930, Magritte and his cohorts of friends scorned the appropriation of Freudian theories in art and literature. He disdained the explorations of the unconscious mind that were in vogue throughout Europe in this era, aiming instead to expand conscious understanding of reality by presenting utterly improbable tableaux. The fantastic compositions that resulted were made more palatable -- and, paradoxically, even more absurd -- by Magritte's strict adherence to the conventions of representational painting.
Rather than paint the visible world, Magritte created inverse worlds, carrying us with him through the looking glass in search of bizarre hybrid forms, objects of absurd scale, and distortions of the laws of time and space. He reveled in making the banal appear strange, tearing objects from their usual contexts and transplanting them into utterly incongruous spaces. His legacy is perhaps most strongly felt in the work of contemporary Pop and Postmodern artists, who borrow familiar images and icons from our collective cultural landscape and present them in an entirely new context, thereby infusing them with new weight and meaning. Magritte painted in the chasm between our vision of the world and the world itself, between our attempts to rationalize every phenomenon, and the absurdity that continues to pervade life despite all efforts to suppress it".
Adrienne Gagnon
San Francisco Museum of Modern Art
SFMOMA Curatorial Associate
www.sfmoma.org
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Another interesting essay at:
"The aspect of Réne Magritte's oeuvre that best fits into conventional definitions of surrealism is that of unrelated objects brought into juxtaposition, such that they provoke a realization of mystery in the midst of daily life. However, this writing proposes that the mystery in Magritte's pictures stems from an older, Low Countries tradition of simulated, mysterious encounters - namely that of the private devotional painting. In order to link painters and paintings from the fifteenth century with an artist and pictures from the twentieth century, “The persistence of mystery” cites cultural traits - notable among them, a fondness for home life - that would establish continuity between the two groups of work in respect to their intentional conception and potential reception".
"The Belgian painter René Magritte “comes from a specific artistic climate,” that nurtures a “tradition of transcendent quietists - painters such as Van Eyck and Memling.” Thus Dore Ashton wrote in a 1959 New York Times review of two gallery exhibitions for the artist, who died in 1967. Ashton further noted a “strange Flemish personality” that exerts a “persistent, hallucinating power.” In Magritte's art, “the viewer has the feeling that something takes places that he cannot name.” (Ashton 28) Ashton's reference to a regional climate that nurtures a persistent mystery or, perhaps, surrealism in fifteenth-century Netherlandish pictures and, five hundred years later, Magritte's art is not unique. Many articles on Magritte, written during the mid-twentieth century for a broad swath of educated American readers, linked his images to a region whose linguistic, religious, artistic, and political culture is far more complicated than such articles could admit".
"Perhaps because of this complexity and her modernist scorn of easy interpretation, another critic summarily dismissed any such connection between Magritte's art and the region in which it was made: in her 1970 landmark monograph on Magritte, Suzi Gablik tersely stated that attempts to situate Magritte's oeuvre in a Flemish artistic tradition “cannot be pursued to advantage.” There is “in some of Magritte's pictures that sense of eternality, of time suspended, which recalls the hermetic quietism associated with Memling, Van Eyck and Rogier van der Weyden,” Gablik conceded. “Present also is an analogous interest in ordinary objects and domestic interiors. But these tracks do not lead very far.” (Gablik 13) Gablik, whose research on Magritte included an eight-month stay with the artist and his wife, Georgette, paired her own opinion with a quote she had obtained from Magritte, himself, effectively aligning their views. Magritte stated: “ ‘Grouping artists … because they are “Walloons” or because they might be, for example, “vegetarians,” doesn't interest me at all … .' ” (Gablik 13)
"Thus, on one hand, stands an example of reception of Magritte's work that embraces him as heir to a regional tradition of mystery and, on the other, two authoritative and rather autocratic dismissals of the possibility . Situated between these two opinions, however, is another possibility - a case for considering Magritte as a regional artist. How can Magritte be addressed as an artist who worked within some parameters associated with the culture of a particular geographical location? How can pictures made during the fifteenth century and pictures made during the twentieth century fruitfully be compared as manifestations of regional culture? Or, can the work of one of Belgian's foremost painters be situated within a context other than that of Parisian surrealism - which continues to be perceived as definitive of the international practice? This essay will situate Magritte's work within a regional context, by demonstrating that both Magritte and the Netherlandish painters used visual motifs and strategies that would affect their viewers in comparable ways, consistent with certain characteristics of regional culture - in spite of five hundred years elapsing between the occasions of their conception. However, demonstrating such comparable means and intentions requires consideration of some related issues, among them, Magritte's resistance to classification as a regional artist. Magritte's comments about “vegetarian” artists suggest that, even after he had achieved international renown, he was concerned about any categorization that could limit appreciation of his art. Placing his art in a regional context would have become one more way of explaining its meaning - psychoanalysis would be another - and Magritte considered any attempt to decipher the mystery of his art as wrong-headed".
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"Another important consideration is that of ‘mystery', the word most commonly employed to describe the effect of Magritte's imagery. What is meant by this term, which often has been used to describe the effect of works by Magritte and the Netherlandish painters? Can mystery be defined in such a way as to establish a basis of comparison between the two groups of pictures? As the OED states, ‘mystery' has two kinds of definition. Theologically, it is “usually, a doctrine of faith involving difficulties which human reason is incapable of solving.” Non-theologically, it is “something beyond human knowledge or comprehension; a riddle or enigma.” The two kinds of mystery differ in their origins, yet both resist reason and comprehension; mystery is to be accepted and experienced as necessarily and rewardingly unknowable. If mystery is thus defined, why has it been employed as an effect in these bodies of work? One possibility might be that all of the artists in question, in spite of diverging religious and secular motivations, sought to make pictures that would evoke mystery in the midst of everyday life. In doing so, they might stimulate wonder in viewers tempted by or preoccupied with domestic comfort, security, and privilege. The means they chose for achieving this end was the realistic painting of ordinary objects and/or everyday settings - in ways that eluded rational explanation. As such, focus is shifted from what pictures are supposed to mean to how pictures are intended to operate. For decades, meaning has informed reception of Magritte's pictures and the Netherlandish paintings. But recent scholarly writing about both bodies of work supports the potential for fruitful comparison of their functional operation".
_________________________
René Magritte described his paintings by saying,
My painting is visible images which conceal nothing; they evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question, 'What does that mean?'. It does not mean anything, because mystery means nothing either, it is unknowable.
_________________________________________
In popular culture
On the Threshold of Liberty, 1937.
 The Jeff Beck group reproduced Magritte's "The Listening Room" on the cover of their 1969 album Beck-Ola.
 Rock band Styx adapted Magritte's 1965 piece Carte Blanche for the cover of their album The Grand Illusion.
 The music video for Todd Rundgren's 1981 song "Time Heals" features in the background numerous paintings by Magritte and by Salvador Dalí.
 The covers of the albums The Pleasure Principle by Gary Numan and The Pleasures of Electricity by John Foxx were based on Magritte's painting Le Principe du Plaisir.
 In the UK TV series Sapphire & Steel, (in the untitled fourth serial), the appearance of the faceless spirit, and of the photos he hides inside, are based on Magritte's works.
Paul Simon writes of René and Georgette Magritte in Christopher Street in New York with his song René and Georgette Magritte with Their Dog After the War, on the 1983 album Hearts and Bones.
Playwright Barry Kornhauser wrote a play about Magritte's early life, This Is Not a Pipe Dream, which was published in 1993.
 In the 2004 film I Heart Huckabees, Magritte is referenced by Bernard Jaffe ( Dustin Hoffman) as he holds onto a bowler hat. This particular hat is a recurring element of Magritte's work, appearing in The Son of Man and Golconda.
The Son of Man was used in the 1999 film The Thomas Crown Affair and in the 2004 short film Ryan. According to the Beatles Anthology, the apple in the Apple Records logo was designed to resemble the one in this Magritte painting.
 In the 1992 film Toys, using Magritte-inspired imagery, Robin Williams and Joan Cusack make a fake music video of "The Mirror Song" by Trevor Horn and Bruce Wooley. The song was acted in the video by Williams and Cusack using the pseudonyms "Yolanda and Steve." They wore bowler hats and overcoats while the video imagery referenced The Son of Man and Golconda. For the latter, the little bowler-hatted figures were shown slowly descending.
 Demeter Fragrances, known for their unique scents, has a scent called "This is not a Pipe" named after the painting "ceci n'est pas une pipe".
Indie rock band Recover titled their 2002 album "Ceci n'est pas." The album cover features a picture of the band on a background similar to The Treachery of Images; "Ceci n'est pas Recover" is written under the picture in a font similar to that of the painting.
 The cover of the album " Casually Dressed & Deep in Conversation" by the Welsh Emocore band Funeral for a Friend is based on the two paintings "The Lovers" [1] by Magritte.
 The cover of Australian band Expatriate's "lovers le strange" E.P. [2] is also based on "The Lovers".
 On the set of the television show Good Eats, there is a painting over a fireplace of a turkey floating in front of a sky background with a bowler hat floating above it, an obvious reference to Magritte's painting " The Son of Man".
 On his 2003 album Hobo Sapiens, John Cale (former member of The Velvet Underground) included a song titled "Magritte". The song pays homage to the artist, through such lines as "And how often we forgot Magritte / How we remembered him then / And worshipped at his feet / Pinned to the edges of vision."
 The cover of Jackson Browne's 1974 album, Late for the Sky, is inspired by Magritte's "L'Empire des Lumieres."
 The 2005 album cover, Frances The Mute by The Mars Volta was inspired by "L'Empire des Lumieres" as well.
Paul McCartney is a life-long fan of Magritte and owns many of his paintings. His wife Linda bought him Magritte's easel for a birthday present. He claims that Magritte's Apple painting inspired him to use the name Apple for the company that dealt with the Beatle's business.
In the 2006 film Stranger than Fiction, protagonist Harold Crick,a dull businessman, carries a green apple in his mouth as he heads to work at the start of the film; the loss of the apple plays a part in the resolution of the film.
Magritte's work has apparently also inspired MTV jingle during the early 90s, with the paintings "ceci n'est pas une pomme" and "ceci n'est pas une pipe", referring to the MTV slogan "ceci est MTV".
Alan Hull of UK folk-rock band Lindisfarne used Magritte's paintings on two of his solo albums. 1973's 'Pipedream' and 1979's 'Phantoms'. 'La Lampe Philosophique' is reproduced for the cover of Pipedream. In addition, the same painting inspired the song 'Peter Prophy Don't Care', recorded for the band's 1971 LP Fog on the Tyne ('Your nose is in your pipe...').
Selected list of works
1920 Landscape
1922 The Station
1923 Sixth Nocturne
1925 The Bather and The Window
1926 The Lost Jockey, The Mind of the Traveler, Sensational News, The Difficult Crossing, The Vestal's Agony, The Midnight Marriage, The Musings of a Solitary Walker, After the Water the Clouds and The Encounter
1927 The Meaning of Night, Let Out of School, The Murderer Threatened, The Man from the Sea, The Tiredness of Life, The Light-breaker, A Passion for Light, The Menaced Assassin and The Muscles of the Sky
1928 The Lining of Sleep, Intermission, The Flowers of the Abyss, Discovery, The Lovers I & II [3] [4], The Daring Sleeper, The Acrobat’s Ideas, The Automaton, The Empty Mask and Attempting the Impossible
1929 The Treachery of Images, Threatening Weather and On the Threshold of Liberty
1930 Pink Belles, Tattered Skies, The Eternally Obvious, The Lifeline, The Annunciation and Celestial Perfections
1931 The Voice of the Air, Summer and The Giantess
1932 The Universe Unmasked
1933 The Human Condition and The Unexpected Answer
1934 The Rape
1935 The Discovery of Fire, The Human Condition, Revolution, Perpetual Motion, Collective Invention', The False Mirror and The Portrait
1936 Clairvoyance, The Healer, The Philosopher’s Lamp, Spiritual Exercises and Forbidden Literature
1937 The Future of Statues and The Black Flag
1938 Time Transfixed and Steps of Summer
1939 Victory
1940 The Return, The Wedding Breakfast
1941 The Break in the Clouds
1942 Misses de L’Isle Adam and The Misanthropes
1943 Universal Gravitation and Monsieur Ingres’s Good Days
1944 ? The Domain of Arnheim
1945 Treasure Island and Black Magic
1947 The Cicerone, The Liberator, The Fair Captive and The Red Model
1948 Blood Will Tell, Memory, The Mountain Dweller, The Art of Life, The Pebble, The Lost Jockey (1948) and Famine
1949 Megalomania, Elementary Cosmogany and Perspective, the Balcony
1950 Making an Entrance, The Legend of the Centuries, Towards Pleasure, The Labors of Alexander and The Art of Conversation
1951 David’s Madame Récamier, Pandora's Box, The Song of the Violet, The Spring Tide and The Smile
1952 Personal Values
1953 Golconda, The Listening Room and a fresco for the Knokke Casino
1954 The Invisible World and The Empire of Light
1955 Memory of a Journey and The Mysteries of the Horizon
1956 The Sixteenth of September
1957 The Fountain of Youth
1958 The Golden Legend
1959 The Castle in the Pyrenees, The Battle of the Argonne, The Anniversary and The Glass Key
1960 The Memoirs of a Saint
1962 The Great Table, The Healer, ' Waste of Effort and Mona Lisa (circa 1962)
1963 The Great Family, The Open Air, The Beautiful Season, Princes of the Autumn, Young Love and The Telescope
1964 Evening Falls, The Great War, The Son of Man and Song of Love
1965 Carte Blanche and Ages Ago
1966 The Shades, The Happy Donor, The Gold Ring, The Pleasant Truth and The Mysteries of the Horizon
1967 Good Connections, The Art of Living and several bronze sculptures based on Magritte’s previous works.
_____________________________________
Assuming:
Map of the Heavens, Planets, Astrological Chart, Horoscope
René MAGRITTE,
born November 21, 1898 at 7:30 AM in Lessines (Belgique)
Sun in 29°03 Scorpio, AS in 1°34 Sagittarius,
Moon in 6°45 Pisces, MC in 26°19 Virgo
Using RIYAL 2.60
Astrological Setting (Tropical - Placidus)
RIYAL Mon November 21 1898 UT 7h30m00s Lat50n43 Lon3e50 SORT ALL
Planet
|
Longit.
|
Latitude
|
Declin.
|
Const.
|
H.D.
|
Period
|
Inclin.
|
O.Range
|
RD215
|
0Sa00
|
13n56
|
6s31
|
Oph
|
76.8
|
1373
|
25.8
|
[38..209]
|
Okyrhoe
|
0Pi04
|
4n49
|
6s57
|
Aqr
|
11.0
|
24
|
15.6
|
[6..11]
|
MW12
|
0Vi05
|
12s22
|
0s09
|
Sex
|
50.2
|
310
|
21.5
|
[40..52]
|
UX25
|
1Cp02
|
17n53
|
5s34
|
Ser
|
47.8
|
281
|
19.4
|
[37..49]
|
Ascend
|
1Sa35
|
0n00
|
20s29
|
Sco
|
 |
 |
 |
 |
Huya
|
1Ge41 r
|
15s11
|
5n37
|
Tau
|
50.2
|
246
|
15.5
|
[28..50]
|
RL43
|
1Ge48 r
|
12s36
|
8n11
|
Tau
|
24.5
|
121
|
12.3
|
[23..25]
|
CR105
|
1Ar54 r
|
19s17
|
16s53
|
Cet
|
68.8
|
3143
|
22.8
|
[44..385]
|
Alekto
|
1Ar56 r
|
5n17
|
5n37
|
Psc
|
3.6
|
0
|
0.0
|
[0..0]
|
TX300
|
2Sc06
|
23s45
|
34s16
|
Cen
|
42.6
|
288
|
25.8
|
[38..49]
|
XX143
|
2Pi08
|
5s39
|
15s59
|
Aqr
|
9.8
|
76
|
6.8
|
[10..26]
|
RN43
|
2Li12
|
1s33
|
2s18
|
Vir
|
42.5
|
270
|
19.2
|
[41..42]
|
Chaos
|
2Aq21
|
11s31
|
30s50
|
Mic
|
50.2
|
310
|
12.0
|
[41..50]
|
Heracles
|
2Pi47
|
6n24
|
4s30
|
Aqr
|
3.2
|
2
|
9.7
|
[0..3]
|
Chiron
|
2Sa50
|
3n34
|
17s14
|
Sco
|
9.6
|
50
|
7.0
|
[8..19]
|
GZ32
|
2Sc59
|
13n52
|
0n33
|
Vir
|
19.2
|
112
|
15.0
|
[18..28]
|
Typhon
|
3Pi13
|
0s41
|
10s58
|
Aqr
|
57.8
|
232
|
2.4
|
[17..58]
|
Uranus
|
3Sa31
|
0n08
|
20s45
|
Sco
|
18.9
|
85
|
0.8
|
 |
Pallas
|
4Li18
|
5s51
|
7s05
|
Vir
|
2.2
|
5
|
34.7
|
[2..3]
|
Vesta
|
4Cp43
|
0s36
|
23s58
|
Sgr
|
2.2
|
4
|
7.1
|
[2..3]
|
PJ30
|
4Le55 r
|
1s08
|
17n57
|
Cnc
|
70.2
|
1395
|
5.6
|
[29..221]
|
Echeclus
|
4Li57
|
0n34
|
1s27
|
Vir
|
13.8
|
34
|
4.3
|
[6..15]
|
Eunomia
|
5Cp14
|
0s57
|
24s17
|
Sgr
|
2.6
|
0
|
0.0
|
[0..0]
|
Urania
|
5Ar17
|
3n14
|
5n04
|
Psc
|
2.1
|
0
|
0.0
|
[0..0]
|
KF77
|
5Pi32
|
2s31
|
11s50
|
Aqr
|
21.8
|
132
|
4.4
|
[20..32]
|
DH5
|
5Vi33
|
1s39
|
7n57
|
Leo
|
14.4
|
104
|
22.5
|
[14..30]
|
TO66
|
5Sc37
|
18s26
|
30s39
|
Cen
|
38.3
|
288
|
27.4
|
[38..49]
|
Dioretsa
|
5Ta45 r
|
20s03
|
5s31
|
Cet
|
26.8
|
0
|
0.0
|
[0..0]
|
Elatus
|
5Sa48
|
1n53
|
19s25
|
Sco
|
14.5
|
45
|
5.6
|
[7..18]
|
DonQuixote
|
5Le55 r
|
25n33
|
43n21
|
Lyn
|
7.1
|
9
|
28.7
|
[1..7]
|
RR43
|
6Sa23
|
9n17
|
12s14
|
Oph
|
45.5
|
286
|
28.5
|
[38..49]
|
Icarus
|
6Cp31
|
15s29
|
38s45
|
CrA
|
0.7
|
1
|
23.1
|
[0..2]
|
Mars
|
6Le35
|
2n10
|
20n44
|
Cnc
|
1.6
|
2
|
1.9
|
 |
Quaoar
|
6Le42 r
|
7s08
|
11n42
|
Cnc
|
44.5
|
286
|
8.0
|
[42..45]
|
Moon
|
6Pi45
|
4n22
|
4s59
|
Aqr
|
1.0
|
0
|
5.2
|
 |
VQ94
|
6Ar45 r
|
51s33
|
43s35
|
Phe
|
111.6
|
2580
|
71.0
|
[7..369]
|
SB60
|
6Li46
|
23s32
|
24s10
|
Crt
|
38.5
|
276
|
23.9
|
[38..47]
|
HB57
|
7Ca01 r
|
15s25
|
7n52
|
Mon
|
91.2
|
2044
|
15.5
|
[38..284]
|
Aglaja
|
7Vi19
|
3n30
|
12n05
|
Leo
|
3.3
|
0
|
0.0
|
[0..0]
|
Sedna
|
7Ar20 r
|
8s30
|
4s53
|
Cet
|
132.9
|
10633
|
12.0
|
[76..891]
|
Chariklo
|
7Aq43
|
4n54
|
13s36
|
Aqr
|
17.2
|
63
|
23.4
|
[13..18]
|
AW197
|
7Ta45 r
|
24n18
|
36n51
|
And
|
53.0
|
322
|
24.4
|
[41..53]
|
Nessus
|
8Pi06 r
|
12s10
|
19s47
|
Aqr
|
29.4
|
122
|
15.7
|
[12..37]
|
Phaethon
|
8Ca18 r
|
15n56
|
39n05
|
Aur
|
1.4
|
1
|
21.5
|
[0..2]
|
GB32
|
9Ca04 r
|
13s57
|
9n13
|
Mon
|
98.4
|
3047
|
14.2
|
[35..385]
|
Astraea
|
9Pi11
|
3s41
|
11s33
|
Aqr
|
2.9
|
0
|
0.0
|
[0..0]
|
Node
|
9Cp24 r
|
0n00
|
23s07
|
Sgr
|
 |
 |
 |
 |
BU48
|
9Sa47
|
12n19
|
9s45
|
Oph
|
45.0
|
193
|
14.3
|
[21..46]
|
Apollo
|
10Le03 r
|
8n34
|
25n58
|
Cnc
|
1.7
|
2
|
6.4
|
[1..2]
|
FP185
|
10Ge06r
|
29s52
|
7s36
|
Eri
|
93.0
|
3182
|
30.9
|
[34..399]
|
TL66
|
10Cp23
|
21n41
|
1s25
|
Aql
|
76.1
|
761
|
23.9
|
[35..131]
|
RM43
|
10Cp31
|
9s24
|
32s25
|
Sgr
|
79.7
|
859
|
28.7
|
[35..145]
|
UR163
|
10Sc36
|
0s43
|
15s41
|
Lib
|
42.1
|
376
|
0.7
|
[37..67]
|
Psyche
|
10Sa53
|
2n17
|
19s50
|
Oph
|
3.1
|
0
|
0.0
|
[0..0]
|
AZ84
|
10Pi57 r
|
13n39
|
5n10
|
Peg
|
36.7
|
247
|
13.6
|
[32..46]
|
OX3
|
12Li03
|
3s05
|
7s36
|
Vir
|
41.3
|
182
|
3.2
|
[18..46]
|
CZ118
|
12Ca07r
|
25n07
|
47n52
|
Lyn
|
96.5
|
1243
|
27.7
|
[37..194]
|
FZ53
|
12Sa27
|
27n45
|
5n14
|
Oph
|
25.5
|
117
|
34.8
|
[12..35]
|
Orcus
|
12Pi29 r
|
20n16
|
11n51
|
Peg
|
30.5
|
245
|
20.6
|
[30..48]
|
Sappho
|
12Sc33
|
0s15
|
15s51
|
Lib
|
2.6
|
0
|
0.0
|
[0..0]
|
Pelion
|
12Sa49
|
7n04
|
15s20
|
Oph
|
17.6
|
90
|
9.4
|
[17..23]
|
Thereus
|
12Ar50 r
|
3n14
|
8n03
|
Psc
|
11.1
|
38
|
20.2
|
[9..14]
|
Saturn
|
12Sa56
|
1n25
|
20s57
|
Oph
|
10.0
|
30
|
2.5
|
 |
Ceres
|
13Li01
|
8n37
|
2n47
|
Vir
|
2.6
|
5
|
10.6
|
[3..3]
|
RZ215
|
13Li02
|
14s09
|
18s09
|
Crv
|
81.3
|
1047
|
25.4
|
[31..175]
|
Crantor
|
13Ca05r
|
3s30
|
19n19
|
Gem
|
19.6
|
86
|
12.8
|
[14..25]
|
OO67
|
13Sc14
|
19n43
|
3n01
|
Ser
|
106.2
|
14458
|
20.1
|
[21..1166]
|
OP32
|
13Vi23
|
9s41
|
2s25
|
Sex
|
42.8
|
286
|
27.1
|
[39..48]
|
Logos
|
13Ar23 r
|
2s38
|
2n52
|
Psc
|
44.8
|
301
|
2.9
|
[40..50]
|
Asbolus
|
13Le40 r
|
14n30
|
30n34
|
Leo
|
27.2
|
76
|
17.6
|
[7..29]
|
Amfortas
|
13Sc50
|
2n14
|
13s52
|
Lib
|
2.0
|
0
|
0.0
|
[0..0]
|
RZ214
|
13Sc59
|
3n55
|
12s19
|
Lib
|
65.9
|
790
|
20.4
|
[37..134]
|
FZ173
|
14Ge21r
|
12n19
|
34n46
|
Aur
|
82.2
|
787
|
12.7
|
[32..138]
|
SA278
|
14Aq29
|
9n14
|
7s39
|
Aqr
|
95.2
|
880
|
16.3
|
[33..151]
|
Hekate
|
14Vi38
|
2n11
|
8n04
|
Leo
|
3.5
|
0
|
0.0
|
[0..0]
|
Varuna
|
14Aq44
|
11s13
|
27s07
|
PsA
|
41.3
|
281
|
17.2
|
[41..45]
|
Pluto
|
15Ge00r
|
10s04
|
12n36
|
Ori
|
47.1
|
247
|
17.2
|
[29..49]
|
Venus
|
15Sa10r
|
3s24
|
26s00
|
Oph
|
0.7
|
1
|
3.4
|
 |
TC302
|
15Aq12
|
32s36
|
46s56
|
Gru
|
69.1
|
410
|
35.1
|
[39..71]
|
Hygiea
|
15Vi12
|
2s26
|
3n36
|
Leo
|
3.1
|
0
|
0.0
|
[0..0]
|
Vertex
|
15Ca15
|
 |
 |
 |
 |
 |
 |
 |
WL7
|
15Aq19
|
7s55
|
23s48
|
Cap
|
21.2
|
90
|
11.2
|
[15..25]
|
PN34
|
15Ca33r
|
3n56
|
26n28
|
Gem
|
47.2
|
172
|
16.6
|
[13..49]
|
UJ438
|
16Cp04
|
1n31
|
20s59
|
Sgr
|
26.9
|
74
|
3.8
|
[8..27]
|
GM137
|
16Ar05 r
|
16s06
|
8s32
|
Cet
|
9.2
|
23
|
15.6
|
[7..9]
|
Flora
|
16Sa11
|
1n57
|
20s47
|
Oph
|
2.4
|
0
|
0.0
|
[0..0]
|
Mercury
|
16Sa47
|
2s20
|
25s07
|
Oph
|
0.4
|
0
|
7.0
|
 |
FY9
|
16Ta54 r
|
16s16
|
1n15
|
Cet
|
38.9
|
304
|
29.0
|
[38..52]
|
YQ179
|
16Ar58 r
|
21s03
|
12s47
|
Cet
|
84.5
|
824
|
20.9
|
[37..139]
|
VS2
|
17Sa23
|
10s04
|
32s52
|
Sco
|
42.1
|
249
|
14.8
|
[37..42]
|
Eurydike
|
18Le10
|
4n48
|
19n57
|
Leo
|
3.2
|
0
|
0.0
|
[0..0]
|
QB243
|
18Ge38r
|
6n31
|
29n27
|
Aur
|
53.8
|
203
|
6.8
|
[15..54]
|
Pylenor
|
18Vi41
|
2n36
|
6n52
|
Leo
|
18.4
|
69
|
5.4
|
[12..22]
|
Orpheus
|
19Aq10
|
0n16
|
14s49
|
Cap
|
1.3
|
1
|
2.7
|
[1..2]
|
VR130
|
19Ca13r
|
3s31
|
18n35
|
Gem
|
17.8
|
117
|
3.5
|
[15..33]
|
Cyllarus
|
19Le56 r
|
12n40
|
26n49
|
Leo
|
32.8
|
134
|
12.6
|
[16..36]
|
Megaira
|
20Sa06
|
2n02
|
21s04
|
Oph
|
2.7
|
0
|
0.0
|
[0..0]
|
Apogee
|
20Ge11
|
1n43
|
24n48
|
Tau
|
 |
 |
 |
 |
QD112
|
20Le29
|
9n48
|
23n56
|
Leo
|
21.8
|
83
|
14.5
|
[8..30]
|
XZ255
|
20Sc36
|
1n06
|
16s51
|
Lib
|
16.3
|
64
|
2.6
|
[15..17]
|
Pholus
|
20Ge45r
|
18s08
|
5n02
|
Ori
|
9.4
|
91
|
24.7
|
[9..32]
|
Ceto
|
21Pi12 r
|
0s31
|
3s58
|
Aqr
|
84.2
|
998
|
22.4
|
[18..182]
|
Eris
|
21Pi13 r
|
33s20
|
33s42
|
Scl
|
91.8
|
558
|
44.1
|
[38..98]
|
Euphrosyne
|
21Aq15
|
21s34
|
34s41
|
PsA
|
3.3
|
0
|
0.0
|
[0..0]
|
Damocles
|
21Aq33
|
21n02
|
5n38
|
Equ
|
19.1
|
41
|
61.9
|
[2..22]
|
SQ73
|
21Li36
|
1s21
|
9s40
|
Vir
|
18.5
|
75
|
17.5
|
[15..21]
|
Hylonome
|
21Cp40
|
3n38
|
18s07
|
Sgr
|
25.7
|
126
|
4.2
|
[19..31]
|
Talos
|
22Aq00r
|
17s53
|
31s00
|
PsA
|
1.3
|
1
|
23.3
|
[0..2]
|
Bienor
|
22Vi19
|
4s22
|
0s57
|
Leo
|
13.8
|
68
|
20.7
|
[13..20]
|
Cybele
|
22Vi49
|
0s04
|
2n47
|
Vir
|
3.5
|
0
|
0.0
|
[0..0]
|
Eros
|
23Aq17
|
11n17
|
3s05
|
Aqr
|
1.5
|
2
|
10.8
|
[1..2]
|
GQ21
|
23Ge27r
|
12s46
|
10n32
|
Ori
|
72.3
|
901
|
13.4
|
[38..149]
|
Ixion
|
23Le29
|
18n49
|
31n20
|
LMi
|
44.6
|
249
|
19.6
|
[30..49]
|
Neptune
|
24Ge02r
|
1s21
|
21n58
|
Tau
|
29.9
|
164
|
1.8
|
 |
XA255
|
24Pi11 r
|
12s04
|
13s22
|
Cet
|
44.9
|
162
|
12.7
|
[9..50]
|
Juno
|
24Sc16
|
8n57
|
10s10
|
Lib
|
3.4
|
4
|
13.0
|
[2..3]
|
Aura
|
24Sa26
|
8s22
|
31s42
|
Sco
|
3.4
|
0
|
0.0
|
[0..0]
|
Bacchus
|
24Li26
|
4n11
|
5s35
|
Vir
|
0.9
|
1
|
9.4
|
[1..1]
|
XR190
|
24Pi55 r
|
45n56
|
39n24
|
Lac
|
61.7
|
430
|
46.7
|
[52..62]
|
GV9
|
25Ta34 r
|
5n31
|
24n31
|
Tau
|
43.7
|
270
|
22.0
|
[38..45]
|
CF119
|
25Ar52 r
|
19n49
|
28n19
|
Psc
|
80.2
|
827
|
19.7
|
[38..138]
|
CY118
|
25Ta54 r
|
25s03
|
5s09
|
Eri
|
80.3
|
853
|
25.6
|
[34..146]
|
Radamantus
|
25Pi56 r
|
2s35
|
3s59
|
Aqr
|
38.2
|
242
|
12.8
|
[33..45]
|
TD10
|
26Li02
|
2n13
|
7s59
|
Vir
|
93.9
|
941
|
5.9
|
[13..180]
|
QB1
|
26Sc03
|
1s48
|
21s02
|
Lib
|
45.5
|
294
|
2.2
|
[41..47]
|
QF6
|
26Li13
|
19n50
|
8n23
|
Boo
|
11.6
|
0
|
0.0
|
[0..0]
|
Midheav
|
26Vi21
|
0n00
|
1n27
|
Vir
|
 |
 |
 |
 |
Thalia
|
26Aq28
|
10s33
|
22s35
|
Aqr
|
3.0
|
0
|
0.0
|
[0..0]
|
Hidalgo
|
26Sc47
|
25s41
|
44s14
|
Lup
|
9.1
|
0
|
0.0
|
[0..0]
|
CO1
|
26Ge55r
|
3n06
|
26n31
|
Tau
|
18.7
|
94
|
19.8
|
[11..30]
|
Amor
|
27Pi08 r
|
6s27
|
7s03
|
Cet
|
2.8
|
3
|
12.0
|
[1..3]
|
BL41
|
27Cp08
|
4n15
|
16s35
|
Sgr
|
9.9
|
31
|
13.3
|
[7..13]
|
Hephaistos
|
27Sc08
|
1s18
|
20s47
|
Lib
|
0.4
|
3
|
13.2
|
[0..4]
|
Amycus
|
27Cp27
|
3s21
|
23s58
|
Sgr
|
23.7
|
126
|
13.3
|
[15..35]
|
MS4
|
27Le37
|
16s34
|
3s17
|
Sex
|
39.4
|
271
|
17.7
|
[36..48]
|
Iris
|
27Sa53
|
1n21
|
22s06
|
Sgr
|
2.6
|
0
|
0.0
|
[0..0]
|
EL61
|
28Ge01r
|
16s45
|
6n41
|
Ori
|
40.6
|
281
|
28.2
|
[35..51]
|
Hebe
|
28Vi31
|
4n58
|
5n09
|
Vir
|
2.8
|
0
|
0.0
|
[0..0]
|
Lilith
|
28Sa41
|
1n16
|
22s11
|
Sgr
|
3.0
|
0
|
0.0
|
[0..0]
|
TY364
|
28Sc42
|
23n57
|
3n32
|
Ser
|
39.2
|
245
|
24.8
|
[37..42]
|
Jupiter
|
28Li46
|
1n06
|
10s01
|
Vir
|
5.5
|
12
|
1.3
|
 |
Toro
|
29Sa00
|
1n49
|
21s38
|
Sgr
|
1.3
|
2
|
9.4
|
[1..2]
|
Sun
|
29Sc03
|
0n00
|
19s57
|
Lib
|
1.0
|
1
|
0.0
|
 |
Metis
|
29Le34
|
5n03
|
16n21
|
Leo
|
2.2
|
0
|
0.0
|
[0..0]
|
KX14
|
29Ge42r
|
0n06
|
23n33
|
Gem
|
38.7
|
241
|
0.4
|
[37..40]
|
Deucalion
|
29Ge45r
|
0n13
|
23n41
|
Gem
|
46.6
|
292
|
0.4
|
[41..47]
|
OM67
|
29Li45
|
20s54
|
30s47
|
Cen
|
72.8
|
995
|
23.3
|
[40..160]
|
CO104
|
29Li47
|
1s46
|
13s03
|
Vir
|
23.0
|
119
|
3.1
|
[21..28]
|
PB112
|
29Sc53
|
13s49
|
33s36
|
Lup
|
86.8
|
1128
|
15.4
|
[36..181]
|
Focused Minor Planets
TY364 = 28 Sc 42
Sun = 29 Sc 03
PB112 = 29 Sc 53
Hephaistos = 27 Sc 08
RD215 = 0 Sa 00
Jupiter = 28 Li 46 Semisextile
------------------------
OO67 = 13 Sc 14
Saturn = 12 Sa 56 Semisextile
Orcus = 12 Pi 29 r Trine
------------------------
TL66 = 10 Cp 23
Node = 9 Cp 24 r
-----------------------
AW197 = 7 Ta 45 r
Mars = 6 Le 35 Square
Quaoar = 6 Le 42 r
Moon = 6 Pi 45 Sextile
-----------------------
Chaos = 2 Aq 21
Uranus = 3 Sa 31 Sextile
Chiron = 2 Sa 50
Pallas = 4 Li 18 Trine
-----------------------
FZ173 = 14 Ge 21 r
Pluto = 15 Ge 00 r
Venus = 15 Sa 10r
Varuna = 14 Aq 44 Trine
----------------------
FY9 = 16 Ta 54 r
Mercury = 16 Sa 47 Quincunx
----------------------
GQ21 = 23 Ge 27r
Neptune = 24 Ge 02r
Aura = 24 Sa 26
Ixion = 23 Le 29 Sextile
Eros = 23 Aq 17 Trine
XR190 = 24 Pi 55 r Square
_______________________________
Astrological Setting (Sidereal - Fagan/Bradley)
RIYAL Mon November 21 1898 UT 7h30m00s Lat50n43 Lon3e50 SORT ALL
Planet
|
Longit.
|
Latitude
|
Declin.
|
Const.
|
H.D.
|
Period
|
Inclin.
|
O.Range
|
GQ21
|
0Ge07 r
|
12s46
|
10n32
|
Ori
|
72.3
|
901
|
13.4
|
[38..149]
|
Ixion
|
0Le09
|
18n49
|
31n21
|
LMi
|
44.6
|
249
|
19.6
|
[30..49]
|
Neptune
|
0Ge42 r
|
1s21
|
21n58
|
Tau
|
29.9
|
164
|
1.8
|
 |
XA255
|
0Pi51 r
|
12s04
|
13s22
|
Cet
|
44.9
|
162
|
12.7
|
[9..50]
|
Juno
|
0Sc56
|
8n57
|
10s10
|
Lib
|
3.4
|
4
|
13.0
|
[2..3]
|
Aura
|
1Sa06
|
8s22
|
31s42
|
Sco
|
3.4
|
0
|
0.0
|
[0..0]
|
Bacchus
|
1Li06
|
4n11
|
5s35
|
Vir
|
0.9
|
1
|
9.4
|
[1..1]
|
XR190
|
1Pi35 r
|
45n56
|
39n23
|
Lac
|
61.7
|
430
|
46.7
|
[52..62]
|
GV9
|
2Ta14 r
|
5n31
|
24n31
|
Tau
|
43.7
|
270
|
22.0
|
[38..45]
|
CF119
|
2Ar32 r
|
19n49
|
28n19
|
Psc
|
80.2
|
827
|
19.7
|
[38..138]
|
CY118
|
2Ta34 r
|
25s03
|
5s09
|
Eri
|
80.3
|
853
|
25.6
|
[34..146]
|
Radamantus
|
2Pi36 r
|
2s35
|
3s59
|
Aqr
|
38.2
|
242
|
12.8
|
[33..45]
|
TD10
|
2Li42
|
2n13
|
7s59
|
Vir
|
93.9
|
941
|
5.9
|
[13..180]
|
QB1
|
2Sc43
|
1s48
|
21s02
|
Lib
|
45.5
|
294
|
2.2
|
[41..47]
|
Midheav
|
3Vi01
|
0n00
|
1n27
|
Vir
|
 |
 |
 |
 |
Thalia
|
3Aq09
|
10s33
|
22s35
|
Aqr
|
3.0
|
0
|
0.0
|
[0..0]
|
Hidalgo
|
3Sc27
|
25s41
|
44s14
|
Lup
|
9.1
|
0
|
0.0
|
[0..0]
|
CO1
|
3Ge35 r
|
3n06
|
26n31
|
Tau
|
18.7
|
94
|
19.8
|
[11..30]
|
Amor
|
3Pi48 r
|
6s27
|
7s03
|
Cet
|
2.8
|
3
|
12.0
|
[1..3]
|
BL41
|
3Cp48
|
4n15
|
16s35
|
Sgr
|
9.9
|
31
|
13.3
|
[7..13]
|
Hephaistos
|
3Sc48
|
1s18
|
20s47
|
Lib
|
0.4
|
3
|
13.2
|
[0..4]
|
Amycus
|
4Cp07
|
3s21
|
23s58
|
Sgr
|
23.7
|
126
|
13.3
|
[15..35]
|
MS4
|
4Le17
|
16s34
|
3s17
|
Sex
|
39.4
|
271
|
17.7
|
[36..48]
|
Iris
|
4Sa33
|
1n21
|
22s06
|
Sgr
|
2.6
|
0
|
0.0
|
[0..0]
|
EL61
|
4Ge41 r
|
16s45
|
6n41
|
Ori
|
40.6
|
281
|
28.2
|
[35..51]
|
Hebe
|
5Vi11
|
4n58
|
5n09
|
Vir
|
2.8
|
0
|
0.0
|
[0..0]
|
Lilith
|
5Sa21
|
1n16
|
22s11
|
Sgr
|
3.0
|
0
|
0.0
|
[0..0]
|
TY364
|
5Sc23
|
23n57
|
3n32
|
Ser
|
39.2
|
245
|
24.8
|
[37..42]
|
Jupiter
|
5Li27
|
1n06
|
10s01
|
Vir
|
5.5
|
12
|
1.3
|
 |
Toro
|
5Sa41
|
1n49
|
21s37
|
Sgr
|
1.3
|
2
|
9.4
|
[1..2]
|
Sun
|
5Sc43
|
0n00
|
19s57
|
Lib
|
1.0
|
1
|
0.0
|
 |
Metis
|
6Le14
|
5n03
|
16n21
|
Leo
|
2.2
|
0
|
0.0
|
[0..0]
|
KX14
|
6Ge22 r
|
0n06
|
23n33
|
Gem
|
38.7
|
241
|
0.4
|
[37..40]
|
Deucalion
|
6Ge25 r
|
0n13
|
23n40
|
Gem
|
46.6
|
292
|
0.4
|
[41..47]
|
OM67
|
6Li25
|
20s54
|
30s47
|
Cen
|
72.8
|
995
|
23.3
|
[40..160]
|
CO104
|
6Li27
|
1s46
|
13s03
|
Vir
|
23.0
|
119
|
3.1
|
[21..28]
|
PB112
|
6Sc33
|
13s49
|
33s36
|
Lup
|
86.8
|
1128
|
15.4
|
[36..181]
|
RD215
|
6Sc40
|
13n56
|
6s31
|
Oph
|
76.8
|
1373
|
25.8
|
[38..209]
|
Okyrhoe
|
6Aq45
|
4n49
|
6s57
|
Aqr
|
11.0
|
24
|
15.6
|
[6..11]
|
MW12
|
6Le45
|
12s22
|
0s09
|
Sex
|
50.2
|
310
|
21.5
|
[40..52]
|
UX25
|
7Sa42
|
17n53
|
5s34
|
Ser
|
47.8
|
281
|
19.4
|
[37..49]
|
Ascend
|
8Sc15
|
0n00
|
20s29
|
Sco
|
 |
 |
 |
 |
Huya
|
8Ta21 r
|
15s11
|
5n37
|
Tau
|
50.2
|
246
|
15.5
|
[28..50]
|
RL43
|
8Ta28 r
|
12s36
|
8n10
|
Tau
|
24.5
|
121
|
12.3
|
[23..25]
|
CR105
|
8Pi34 r
|
19s17
|
16s53
|
Cet
|
68.8
|
3143
|
22.8
|
[44..385]
|
TX300
|
8Li46
|
23s45
|
34s16
|
Cen
|
42.6
|
288
|
25.8
|
[38..49]
|
XX143
|
8Aq48
|
5s39
|
15s59
|
Aqr
|
9.8
|
76
|
6.8
|
[10..26]
|
RN43
|
8Vi52
|
1s33
|
2s18
|
Vir
|
42.5
|
270
|
19.2
|
[41..42]
|
Chaos
|
9Cp01
|
11s31
|
30s50
|
Mic
|
50.2
|
310
|
12.0
|
[41..50]
|
Heracles
|
9Aq27
|
6n24
|
4s30
|
Aqr
|
3.2
|
2
|
9.7
|
[0..3]
|
Chiron
|
9Sc30
|
3n34
|
17s14
|
Sco
|
9.6
|
50
|
7.0
|
[8..19]
|
GZ32
|
9Li39
|
13n52
|
0n33
|
Vir
|
19.2
|
112
|
15.0
|
[18..28]
|
Typhon
|
9Aq53
|
0s41
|
10s58
|
Aqr
|
57.8
|
232
|
2.4
|
[17..58]
|
Uranus
|
10Sc11
|
0n08
|
20s45
|
Sco
|
18.9
|
85
|
0.8
|
 |
Pallas
|
10Vi58
|
5s51
|
7s05
|
Vir
|
2.2
|
5
|
34.7
|
[2..3]
|
Vesta
|
11Sa23
|
0s36
|
23s58
|
Sgr
|
2.2
|
4
|
7.1
|
[2..3]
|
PJ30
|
11Ca35r
|
1s08
|
17n57
|
Cnc
|
70.2
|
1395
|
5.6
|
[29..221]
|
Echeclus
|
11Vi37
|
0n34
|
1s27
|
Vir
|
13.8
|
34
|
4.3
|
[6..15]
|
Eunomia
|
11Sa54
|
0s57
|
24s17
|
Sgr
|
2.6
|
0
|
0.0
|
[0..0]
|
Urania
|
11Pi57
|
3n14
|
5n04
|
Psc
|
2.1
|
0
|
0.0
|
[0..0]
|
KF77
|
12Aq12
|
2s31
|
11s50
|
Aqr
|
21.8
|
132
|
4.4
|
[20..32]
|
DH5
|
12Le13
|
1s39
|
7n57
|
Leo
|
14.4
|
104
|
22.5
|
[14..30]
|
TO66
|
12Li17
|
18s26
|
30s39
|
Cen
|
38.3
|
288
|
27.4
|
[38..49]
|
Dioretsa
|
12Ar26 r
|
20s03
|
5s31
|
Cet
|
26.8
|
0
|
0.0
|
[0..0]
|
Elatus
|
12Sc28
|
1n53
|
19s25
|
Sco
|
14.5
|
45
|
5.6
|
[7..18]
|
DonQuixote
|
12Ca35r
|
25n33
|
43n21
|
Lyn
|
7.1
|
9
|
28.7
|
[1..7]
|
RR43
|
13Sc03
|
9n17
|
12s14
|
Oph
|
45.5
|
286
|
28.5
|
[38..49]
|
Icarus
|
13Sa11
|
15s29
|
38s45
|
CrA
|
0.7
|
12
|
3.1
|
[0..2]
|
Mars
|
13Ca15
|
2n10
|
20n44
|
Cnc
|
1.6
|
2
|
1.9
|
 |
Quaoar
|
13Ca22r
|
7s08
|
11n42
|
Cnc
|
44.5
|
286
|
8.0
|
[42..45]
|
Moon
|
13Aq25
|
4n22
|
4s59
|
Aqr
|
1.0
|
0
|
5.2
|
 |
VQ94
|
13Pi25 r
|
51s33
|
43s35
|
Phe
|
111.6
|
2580
|
71.0
|
[7..369]
|
SB60
|
13Vi26
|
23s32
|
24s10
|
Crt
|
38.5
|
276
|
23.9
|
[38..47]
|
HB57
|
13Ge41r
|
15s25
|
7n52
|
Mon
|
91.2
|
2044
|
15.5
|
[38..284]
|
Aglaja
|
13Le59
|
3n30
|
12n05
|
Leo
|
3.3
|
0
|
0.0
|
[0..0]
|
Sedna
|
14Pi00 r
|
8s30
|
4s53
|
Cet
|
132.9
|
10633
|
12.0
|
[76..891]
|
Chariklo
|
14Cp23
|
4n54
|
13s36
|
Aqr
|
17.2
|
63
|
23.4
|
[13..18]
|
AW197
|
14Ar25 r
|
24n18
|
36n51
|
And
|
53.0
|
322
|
24.4
|
[41..53]
|
Nessus
|
14Aq46r
|
12s10
|
19s47
|
Aqr
|
29.4
|
122
|
15.7
|
[12..37]
|
Phaethon
|
14Ge58r
|
15n56
|
39n05
|
Aur
|
1.4
|
1
|
21.5
|
[0..2]
|
GB32
|
15Ge44r
|
13s57
|
9n13
|
Mon
|
98.4
|
3047
|
14.2
|
[35..385]
|
Astraea
|
15Aq51
|
3s41
|
11s33
|
Aqr
|
2.9
|
0
|
0.0
|
[0..0]
|
Node
|
16Sa04r
|
0n00
|
23s07
|
Sgr
|
 |
 |
 |
 |
BU48
|
16Sc27
|
12n19
|
9s45
|
Oph
|
45.0
|
193
|
14.3
|
[21..46]
|
Apollo
|
16Ca43r
|
8n34
|
25n58
|
Cnc
|
1.7
|
2
|
6.4
|
[1..2]
|
FP185
|
16Ta46 r
|
29s52
|
7s36
|
Eri
|
93.0
|
3182
|
30.9
|
[34..399]
|
TL66
|
17Sa03
|
21n41
|
1s25
|
Aql
|
76.1
|
761
|
23.9
|
[35..131]
|
RM43
|
17Sa11
|
9s24
|
32s25
|
Sgr
|
79.7
|
859
|
28.7
|
[35..145]
|
UR163
|
17Li16
|
0s43
|
15s41
|
Lib
|
42.1
|
376
|
0.7
|
[37..67]
|
Psyche
|
17Sc33
|
2n17
|
19s50
|
Oph
|
3.1
|
0
|
0.0
|
[0..0]
|
AZ84
|
17Aq37r
|
13n39
|
5n10
|
Peg
|
36.7
|
247
|
13.6
|
[32..46]
|
OX3
|
18Vi43
|
3s05
|
7s36
|
Vir
|
41.3
|
182
|
3.2
|
[18..46]
|
CZ118
|
18Ge48r
|
25n07
|
47n52
|
Lyn
|
96.5
|
1243
|
27.7
|
[37..194]
|
FZ53
|
19Sc07
|
27n45
|
5n14
|
Oph
|
25.5
|
117
|
34.8
|
[12..35]
|
Orcus
|
19Aq09r
|
20n16
|
11n51
|
Peg
|
30.5
|
245
|
20.6
|
[30..48]
|
Sappho
|
19Li13
|
0s15
|
15s51
|
Lib
|
2.6
|
0
|
0.0
|
[0..0]
|
Pelion
|
19Sc29
|
7n04
|
15s20
|
Oph
|
17.6
|
90
|
9.4
|
[17..23]
|
Thereus
|
19Pi30 r
|
3n14
|
8n03
|
Psc
|
11.1
|
38
|
20.2
|
[9..14]
|
Saturn
|
19Sc36
|
1n25
|
20s57
|
Oph
|
10.0
|
30
|
2.5
|
 |
Ceres
|
19Vi41
|
8n37
|
2n47
|
Vir
|
2.6
|
5
|
10.6
|
[3..3]
|
RZ215
|
19Vi42
|
14s09
|
18s09
|
Crv
|
81.3
|
1047
|
25.4
|
[31..175]
|
Crantor
|
19Ge45r
|
3s30
|
19n19
|
Gem
|
19.6
|
86
|
12.8
|
[14..25]
|
OO67
|
19Li54
|
19n43
|
3n01
|
Ser
|
106.2
|
14458
|
20.1
|
[21..1166]
|
OP32
|
20Le03
|
9s41
|
2s25
|
Sex
|
42.8
|
286
|
27.1
|
[39..48]
|
Logos
|
20Pi04 r
|
2s38
|
2n52
|
Psc
|
44.8
|
301
|
2.9
|
[40..50]
|
Asbolus
|
20Ca20r
|
14n30
|
30n34
|
Leo
|
27.2
|
76
|
17.6
|
[7..29]
|
Amfortas
|
20Li30
|
2n14
|
13s52
|
Lib
|
2.0
|
0
|
0.0
|
[0..0]
|
RZ214
|
20Li39
|
3n55
|
12s18
|
Lib
|
65.9
|
790
|
20.4
|
[37..134]
|
FZ173
|
21Ta01 r
|
12n19
|
34n46
|
Aur
|
82.2
|
787
|
12.7
|
[32..138]
|
SA278
|
21Cp09
|
9n14
|
7s39
|
Aqr
|
95.2
|
880
|
16.3
|
[33..151]
|
Hekate
|
21Le18
|
2n11
|
8n04
|
Leo
|
3.5
|
0
|
0.0
|
[0..0]
|
Varuna
|
21Cp24
|
11s13
|
27s07
|
PsA
|
41.3
|
281
|
17.2
|
[41..45]
|
Pluto
|
21Ta40 r
|
10s04
|
12n36
|
Ori
|
47.1
|
247
|
17.2
|
[29..49]
|
Venus
|
21Sc50r
|
3s24
|
26s00
|
Oph
|
0.7
|
1
|
3.4
|
 |
TC302
|
21Cp52
|
32s36
|
46s56
|
Gru
|
69.1
|
410
|
35.1
|
[39..71]
|
Hygiea
|
21Le52
|
2s26
|
3n36
|
Leo
|
3.1
|
0
|
0.0
|
[0..0]
|
Vertex
|
21Ge55
|
 |
 |
 |
 |
 |
 |
 |
WL7
|
21Cp59
|
7s55
|
23s48
|
Cap
|
21.2
|
90
|
11.2
|
[15..25]
|
PN34
|
22Ge13r
|
3n56
|
26n28
|
Gem
|
47.2
|
172
|
16.6
|
[13..49]
|
UJ438
|
22Sa44
|
1n31
|
20s59
|
Sgr
|
26.9
|
74
|
3.8
|
[8..27]
|
GM137
|
22Pi45 r
|
16s06
|
8s32
|
Cet
|
9.2
|
23
|
15.6
|
[7..9]
|
Flora
|
22Sc51
|
1n57
|
20s47
|
Oph
|
2.4
|
0
|
0.0
|
[0..0]
|
Mercury
|
23Sc27
|
2s20
|
25s07
|
Oph
|
0.4
|
0
|
7.0
|
 |
FY9
|
23Ar34 r
|
16s16
|
1n15
|
Cet
|
38.9
|
304
|
29.0
|
[38..52]
|
YQ179
|
23Pi38 r
|
21s03
|
12s47
|
Cet
|
84.5
|
824
|
20.9
|
[37..139]
|
VS2
|
24Sc03
|
10s04
|
32s52
|
Sco
|
42.1
|
249
|
14.8
|
[37..42]
|
Eurydike
|
24Ca50
|
4n48
|
19n57
|
Leo
|
3.2
|
0
|
0.0
|
[0..0]
|
QB243
|
25Ta18 r
|
6n31
|
29n27
|
Aur
|
53.8
|
203
|
6.8
|
[15..54]
|
Pylenor
|
25Le21
|
2n36
|
6n52
|
Leo
|
18.4
|
69
|
5.4
|
[12..22]
|
Orpheus
|
25Cp50
|
0n16
|
14s50
|
Cap
|
1.3
|
1
|
2.7
|
[1..2]
|
VR130
|
25Ge53r
|
3s31
|
18n35
|
Gem
|
17.8
|
117
|
3.5
|
[15..33]
|
Cyllarus
|
26Ca36r
|
12n40
|
26n49
|
Leo
|
32.8
|
134
|
12.6
|
[16..36]
|
Megaira
|
26Sc46
|
2n02
|
21s04
|
Oph
|
2.7
|
0
|
0.0
|
[0..0]
|
Apogee
|
26Ta51
|
1n43
|
24n48
|
Tau
|
 |
 |
 |
 |
QD112
|
27Ca09
|
9n48
|
23n56
|
Leo
|
21.8
|
83
|
14.5
|
[8..30]
|
XZ255
|
27Li16
|
1n06
|
16s51
|
Lib
|
16.3
|
64
|
2.6
|
[15..17]
|
Pholus
|
27Ta25 r
|
18s08
|
5n02
|
Ori
|
9.4
|
91
|
24.7
|
[9..32]
|
Ceto
|
27Aq52r
|
0s31
|
3s58
|
Aqr
|
84.2
|
998
|
22.4
|
[18..182]
|
Eris
|
27Aq53r
|
33s20
|
33s42
|
Scl
|
91.8
|
558
|
44.1
|
[38..98]
|
Euphrosyne
|
27Cp55
|
21s34
|
34s41
|
PsA
|
3.3
|
0
|
0.0
|
[0..0]
|
Damocles
|
28Cp13
|
21n02
|
5n38
|
Equ
|
19.1
|
41
|
61.9
|
[2..22]
|
SQ73
|
28Vi16
|
1s21
|
9s40
|
Vir
|
18.5
|
75
|
17.5
|
[15..21]
|
Hylonome
|
28Sa20
|
3n38
|
18s07
|
Sgr
|
25.7
|
126
|
4.2
|
[19..31]
|
Talos
|
28Cp40r
|
17s53
|
31s00
|
PsA
|
1.3
|
1
|
23.3
|
[0..2]
|
Bienor
|
28Le59
|
4s22
|
0s57
|
Leo
|
13.8
|
68
|
20.7
|
[13..20]
|
Cybele
|
29Le29
|
0s04
|
2n47
|
Vir
|
3.5
|
0
|
0.0
|
[0..0]
|
Eros
|
29Cp57
|
11n17
|
3s05
|
Aqr
|
1.5
|
2
|
10.8
|
[1..2]
|
Focused Minor Planets
TY364 = 5 Sc 23
Sun = 5 Sc 43
PB112 = 6 Sc 33
Hephaistos = 3 Sc 48
RD215 = 6 Sc 40
Jupiter = 5 Li 27 Semisextile
------------------------
OO67 = 19 Li 54
Saturn = 19 Sc 36 Semisextile
Orcus = 19 Aq 09r Trine
------------------------
TL66 = 17 Sa 03
Node = 16 Sa 04r
-----------------------
AW197 = 14 Ar 25 r
Mars = 13 Ca 15 Square
Quaoar = 13 Ca 22 r
Moon = 13 Aq 25 Sextile
-----------------------
Chaos = 9 Cp 01
Uranus = 10 Sc 11 Sextile
Chiron = 9 Sc 30
Pallas = 10 Vi 58 Trine
-----------------------
FZ173 = 21 Ta 01 r
Pluto = 21 Ta 40 r
Venus = 21 Sc 50r
Varuna = 21 Cp 24 Trine
----------------------
FY9 = 23 Ar 34 r
Mercury = 23 Sc 27 Quincunx
----------------------
GQ21 = 0 Ge 07 r
Neptune = 0 Ge 42 r
Aura = 1 Sa 06
Ixion = 0 Le 09 Sextile
Eros = 29 Cp 57 Trine
XR190 = 1 Pi 35 r Square
_______________________________
Only for TY364, first very tentative keywords:
Mystery
Attempting the Impossible
Persistent, hallucinating power
Anachronistic Realism
____________________________________________
Posted to Centaurs (YahooGroups) on January 15, 2007
_________________________________________
_________________________________________
|