Ceci n’est pas rouge
Inspired by René Magritte's painting:
The Lovers. René Magritte, 1928
/ Rene Magritte and the psychological dimensions of facial elimination /
It's true that surrealism arose as a reaction to the First World War, that it's endeavor was to face a man with an absurdity in effort to save him from banalizing his life. But in every personal expression, as well as Magritte's, it's possible to discern these specifics and see the marks of creator's life. This is a field of psychoanalytic study and an effort to find out the relationships and meanings with those "today" and those of "then."
When he was under 14, his mother committed suicide by drowning in the river. It's more than clear that such difficult life events are impregnated in the psyche in the form of a severe trauma. In the lifetime when a person is still being formed, such a seal certainly will, in some way direct the life, personal preoccupations, and general vision, as well as the experience of the world and its own place in it.
A very common motive in Magritte's opus is facial elimination. Probably his most famous painting is the Son of Man, which, unlike the Great War, portrays a male figure, but again the characteristic features, the 'visibility' of the son of a man are absent.
Deep psychological interpretation could be approached from several angles. In Magritte's opus, so much marked with inability to be seen, certainly introduces the idea of blindness. His significance in intraphecal dimensions was also considered by Freud in his publications of Oedipus complex, where blindness is interpreted as a symbolic equivalent of castration as a punishment for those who seek intestinal intimacy with the mother figure. Given the extremely aggressive and unlucky death of his mother at age of fourteen, it's clear that such relationship is causing numerous conflicts that are very difficult to solve in a more mature adult age.
Traumatic experience and creativity
René began to paint when he was twelve years old. At fourteen, his mother made a series of suicide attempts and finally succeeded by jumping in the river. René was there when they drew her body out of the river, her face wrapped in a nightgown. That incident and other traumas related to his mother’s illness greatly influenced his work.
In order to understand Magritte’s unconscious impulses and their effect on his creativity, it is necessary to analyze his childhood, the damage he suffered, his behavior, and his creative material. Some psychoanalysts claim that traumatic experiences in childhood represent a decisive moment in the emergence of genius. Magritte’s childhood was marked by instability, relocation, financial problems caused by his father’s bad investments, and his mother’s dramatic death.
No matter what kind of traumatic experience a child suffers, it will follow him like a ghost, influencing every part of his life. Each reminder causes a bodily reaction. But if a painter is able to express his trauma and feelings on the canvas, he can more easily deal with the consequences of the traumatic experience. Many believe Magritte’s inspiration for his works was his witness of his mother being pulled from the river.
Psychoanalyst Marthe Woltenstein thinks that this experience created contradictory feelings in Magritte: to see or not to see, to love or not to love, to be afraid or not to be afraid. Many of the women in his paintings seem to be half-alive or half-dead.
There was an unequal relationship between his parents. His father was despotic and dominating. A child unwillingly enters into parental conflicts, and this creates feelings of ambivalence. Art allows a child to reclaim a sense of power. Magritte was able to create or destroy through his use of illusion in his art.
Playing with reality allowed him to move between the wish that his mother was alive and the knowledge that she was dead.
Magritte’s paintings provoke feelings of anxiety.
He often repeated the same motifs but in different surroundings. He believed that our perception of the world around us is no more than our internal vision of our own experience. He also reflected on serious problems of society through his art, including the role of women. The painting Memory shows a bust of a woman’s head with a red spot on her temple.
Not all conflicts have a pathological origin and even mentally healthy people have conflicts. But some people who suffer serious conflicts in childhood react with behavior that is rigid, stereotypical, and repetitive. This behavior is a way to release negative emotions. When an artist paints, he also releases the negative emotions of internal conflicts through repetitive actions. He can transform neurotic tendencies through sublimation in his art.
Interpreting Magritte’s art through the lens of his lived experience does not underestimate the significance and value of his opus, but rather incorporates the effect of trauma and its influence on his creativity.
