#527 Collage (Sur L’Oiseau Mort) (1926)

The silhouette of a man’s
head has the cutout of 
a bilboquet within it. 

Pinions a dead bird, an
image also found in a
painting done the same 

year. A whiff of sadism 
to them — the sparrow
usually emblematic of

fragility but here associ-
ated with a violent death.
Who knows what angst

remained in the painter’s
heart: but ever since, most of
his birds were live & white.

#526 Portrait de Commandant Marius Delsaux (1923)

No need to flee to Canada
to avoid les rigueurs of
military service
                             when you
have artistic ability of such 
an high level that a portrait 

of your commanding officer
promotes you to an alternative
method of serving the 
                                        military —
painting portaits of the remain-
der of the garrison officer corps.

#525 Après le bal

In more modern times it would
be My Fair Lady. “I could have
danced all night, & still come back
for more.” Or maybe not. Naked
on a bed, asleep. Not so much a
bed but a plinth. & she obviously 
worn out, comfort not a consider-
ation. & the curtain that partitions 
now from before drawn back to 
reveal a destruction that has not
necessarily paused, houses on their 
sides, the floor of the room, the out-
side, those hills beyond, all cracked
beyond repair, bilboquets run amok, 
fallen into the grass or still flying 
around. But this is back then, back 
when the phonograph was barely 
invented, & she no untouched Aphro-
dite but fully formed, fully conscious — 
though unconscious — of her surrounds. 
No seashore, no halfshell, no cherubs, 
just somewhere offstage a disenchanted
Pygmalion translating some sheet 
music to an upright piano & singing 
to himself the before of it. “Down fell 
the glass dear, broken, that's all,
just as my heart was after the ball.”

#524 Tête d’homme (1920)

There is always a
before, he said, but
let your imagination

shape what comes
after, even if you had-
n’t planned a head.

#523 The Boys' Club

"This is the inner circle of the Paris Surrealists
arranged around the outer perimeter
in straight lines"

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Participants: Maxime Moses Alexandre, Louis Aragon, André Breton, Luis Buñuel, Jean Caupenne, Paul Éluard, Marcel Fourrier, René Magritte, Albert Valentin, André Thirion, Yves Tanguy, Georges Sadoul, Paul Nougé, Camille Goemans, Max Ernst, & Salvador Dali
Photographs by Man Ray
Collage by André Breton
Central artwork by René Magritte : Je ne vois pas la [femme] cachée dans la foret (I do not see the [woman] hidden in the forest)
Created for La Révolution Surréaliste, no.12; 15 December, 1929

“It's the cuckoo egg placed in the nest (the lost clutch)
      with the complicity of René Magritte”
— André Breton

#522 The Improvement

Things might seem to be
how they seem until you

reach the door — or, more 
probably, one of many doors — 

marked Magritte the Magi-
cian, open any of them, & 

discover the invisible that 
resides behind the visible.

#521 La Bonne Aventure

 
The clichés, which should
have been here in numbers, 
are nowhere to be seen. Have
fled, some further down the
seaside cliffs, some gone on
board that passenger liner
which is now full steam a-
head for the open sea, all
struck dumb by a sensory
perception of the androgy-
nous eroticism inherent in 
this oversized nose, at once
both phallic & feminine. Only
that synecdoche sycamore re-
mains, certain that, at some 
time soon, the equivalent of a
fig leaf might just be needed.

#520 Le Voleur

The hot air balloon has
been stolen from another
painting; as have the river
& the hills it weaves be-
tween. Then there's the
curtain which has been
on show so many times
that it would otherwise
appear threadbare were
it not for the wardrobes
full of similar things — 
taken from clotheslines 
& salons & a number of
theaters — which are easy
to switch between. Now 
focus on the thief himself,
who, out in public & with
an eye to propriety, has 
foregone the purloined 
jacket worn in tense times 
past — including le présent —
on the off chance he might
just come across its owner.

#519 The Lovers IV

This meeting of minds
can't be that great


if it's so easy to see
his heart isn't in it.

#518 La Victoire (2)

Winning opens a
door; & shows that

nothing at all has
changed. The same

sand, the same sea.
A fresh cloud, per-

haps. But that will
blow away shortly.

#517: Le Leçon des Ténèbres

i. Between Light & Darkness

"Within the liturgy of the Catholic Church there is a long tradition of singing the Lamentations of Jeremiah during Holy Week, based on a parallel being drawn between the text’s description of the destruction of Jerusalem in 586 BC and the death of Christ. By the time of Couperin and de Lalande, a practice had been established in which the text was divided into nine ‘lessons’ sung over three days, with one candle of a special candelabra being extinguished after each lesson, until ‘tenebrae’ or darkness was achieved on Good Friday.

"Some of the finest examples of the genre are the three Leçons by François Couperin, composed for the royal monastery of Longchamp c. 1714. (Couperin at one time referred to a full set of nine lessons, but only the three for Holy Wednesday are known today.)" ¹

ii. The Encounter

Bare. No diacritics. In a report of the precedings of a 2013 estate tax challenge between the Estate Of James A. Elkins, Jr., Deceased, & the Commisioner Of Internal Revenue it is noted that the Deceased owned undivided fractional interests in 64 works of contemporary art. Within that list, sandwiched between Pierre Soulages & Joseph Albers, is item 13, with an assessed value of $550,000, "Magritte, Rene, La lecon des tenebres, 1964 (Gouache on paper, 13-1/2" x 21-1/2")." ²

iii. The Lessons of Darkness

As soon as fruit is taken
from the tree, it loses life

& light. The further from
its place of origin, the

greater the degradation. In
a stone cellar it petrifies,

darkens to become one
with its surroundings.

Outside the light remains.
Here endeth the first lesson.



______________
¹ From the catalogue of BIS Records.
² From CourtListener, a project of Free Law Project.