Fake News?
Commentary by Angeliki Lymberopoulou
The Greek philosopher Aristotle (384–322 BCE) in his work on the five senses ranks sight as the most important/dominant of all of them; this is also echoed in Souda, the tenth-century lexicon of Byzantine culture.
René Magritte's work challenges our ‘leading’ sense. While right before our eyes we plainly have a curvaceous, two-coloured pipe—its front section brown, its back section black, with a circle in gold separating the two colours—its caption informs us authoritatively that this is not a pipe. What deceives us here: our eyes or the creator of the image (via his painted inscription)? If sight is the ‘top’ sense, how could we possibly disregard what it delivers to us and instead follow someone else’s instructions on what we are supposed to (not) be seeing?
‘The famous pipe,’ wrote Magritte (Torczyner 1977: 71); ‘[h]ow people reproached me for it!’:
And yet, could you stuff my pipe? No, it’s just a representation, is it not? So if I had written on my picture ‘This is a pipe’, I’d have been lying.
Perhaps his statement brings a sigh of relief, because our eyes have not betrayed us, so long as we accept the rules of 'representation'. By engaging us in semantics, in word play, it is to these rules of representation that the artist invites his viewers to attend.
Our anxiety about the image is not entirely dispelled, however. This is not a real pipe, but rather a visual reproduction of one. Certainly, since our brain is capable of registering the difference between the two (i.e. nobody in their right mind would try to smoke the image of a pipe), it can be a pipe for us after all. Even Magritte himself refers to [his] ‘pipe’ (‘could you stuff my pipe?’)—he does not qualify it as ‘the representation of my pipe’. Yet the core of images is treacherous—while telling us the truth they also lie to us.
How might we compare the 'treachery' we witness in this painting with Judas’s act? The disciple uses a kiss—normally indicative of affection and endearment—to betray Jesus. In other words, it is a display that undermines what it seems to represent. We are left mentally to supply the words: 'this is not a kiss'.
References
Barron, Stephanie, et al. 2006. Magritte and Contemporary Art: The Treachery of Images (Los Angeles: Los Angeles County Museum of Art / Ludion)
Lymberopoulou, Angeliki. 2018. ‘Sight and the Byzantine Icon’, Equinoxonline 2.1: 46–67
Torczyner, Harry. 1977. Magritte, Ideas and Images, trans. by E. Miller (New York: Harry N. Abrams)
Wear, Delese, and Joseph Zarconi. 2010. ‘The Treachery of Images: How René Magritte Informs Medical Education’, Journal of General Internal Medicine 26.4: 437–39