By Michel Foucault
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The p ainting is the speak of a rebus , that chain of shapes so simply reco gnized as to be im mediately identifiable, its mere formula enj oining the articu lation of a s entence whos e which means has not anything to do with the figures really obvious there . the following, shapes are so imprecise as to be unnameable in the event that they didn't establish themselves. And at the genuine p ainting as seen-blobs , shadows, silhouettes-there i s superimposed the in seen danger o f one other p ainting right now generic as a result of fi g ures pres ented and but weird and wonderful be reason behind the j uxtaposition of horse and armchair. An obj ect in a p ainting is a quantity geared up and tinted in order that its form is instantly reco gnizable and needn't be named . In fo rm, the essential mass is ab sorbed, the dead identify brushed off. M a g ritte elides the obj ect's shape and superimposes the identify at once upon the m as s . The subs tantive hyperlink of the obj ect itself isn't any longer represented other than by way of its severe issues, the mass that casts a shadow and the identify that designates it. L' Alphabet des revelations 1 1 contrasts fairly accurately with Personnage marchant vers l ' horizon : an outstanding wooden en body divided into p anels ; at the ri ght, s o me sim ple, completely recognizable fo r m s : a pipe, a key , a leaf, a glas s . At the backside of the ri ght p anel, the configuration of a rip indicates that the shapes are not any greater than lower outs in a s heet of skinny p a p er. at the different p anel, a type of twisted , tangled string depicts no recognizable form (save perha p s , and this is often very Burrowing phrases forty-one 12 uncertain: L A , LE ) . N o mass, no identify, shape with out quantity, an empty reduce out, this is often the obj ect-the obj ect that had vanished from the previous p ainting. M ake no mistake: I n an area the place each aspect turns out to obey the only precept of res emblance and plastic illustration, linguistic symptoms (which had an excluded charisma, which prowled a long way round the photograph, which the name' s arbitrariness appeared to have b anished eternally) have surreptitiously reapproached. Into the solidity of the picture, into its meticulous resemblance, they've got brought a disorder-an order p ertaining to the eyes on my own. they've got routed the obj ect, re vealing its filmy thinnes s . I n order t o set up his plastic indicators , Klee wove a brand new area. Magritte permits the outdated area of represen tation to rule, yet basically on the s urface, not more than a elegant stone, bearin g phrases and shapes : b eneath, not anything . I t is a headstone: The incisions that drew figures and those who marked letters converse simply by way of void, the non-place hidden underneath marble solidity. i'll word that this absence reascends to the floor and impinges upon the portray itself. while Magritte deals his model of Madame Balcon , 1 three Recamier or Le he replaces the normal portray s ' charac ters with coffins . Invisibly contained among waxen oak plank s , emptines s undoes the s velocity comp osed by means of the amount of residing bodie s , the association of garments , the course of the gaze and all of the faces which are approximately to spea okay .