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“Magritte’s variations on the same theme invite us to rethink conventional notions of originality, to look more carefully at the details and contrasts between different versions of the painting: we observe the architectural variations of the Belgian houses, the varieties of trees in the foreground, of the streetlamps and their shadows, and of the skyscapes.
Some of these paintings are in portrait format, others in landscape; some, like the 1961 version, give the viewer a deeper sense of proximity to, or immersion in, the scene while in others the depicted world is more distant. Together, these variant paintings form an internal system of poetic rhythms and patterns in which cross-references abound, alongside allusions to older Belgian art, most notably La Maison rose (1892) by the symbolist William Degouve de Nuncques.”
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Some of these paintings are in portrait format, others in landscape; some, like the 1961 version, give the viewer a deeper sense of proximity to, or immersion in, the scene while in others the depicted world is more distant. Together, these variant paintings form an internal system of poetic rhythms and patterns in which cross-references abound, alongside allusions to older Belgian art, most notably La Maison rose (1892) by the symbolist William Degouve de Nuncques.”
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