Magritte's surrealist painting leads believers to reflect on that which is hidden, that which remains obscure.
René Magritte’s iconic 1946 surrealist painting Le fils de l’homme (the Son of Man) depicts the artist, a modern man. Painted wearing a suit and bowler, on a gray day, with his face obscured by a green apple, the subject — and Magritte’s use of vibrant colors — arrests the viewer.
Magritte, commenting on the apple, writes,
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.
The careful viewer of the painting will notice the subject’s eyes peeking out, subtly visible over the top of the apple. The largely hidden nature of the eyes has a haunting effect. It feels as though the man isn’t fully visible. If the eyes were completely hidden, the effect of the painting would be different. The subject would feel no longer human.
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