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@liamhfjone.bsky.social

11 followers 13 following 16 posts

𓍯𓂃𓏧♡ liam plecak if he was a lacanian psychoanalyst || fourteen years young || @sodapacks alt

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☥ @liamhfjone.bsky.social · 26/09/2025

a painting inspired by "man draped in red cloth" by john singer sargeant. #art #painting

☥ @liamhfjone.bsky.social · 26/09/2025

back on here because of some typical twitter drama & mental health issues. ill be posting more personal art, along with sodapack

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René Magritte @renemagritte.bsky.social · 12/06/2025

The two mysteries #artbots #magritte botfrens.com/collections/61/content…

The two mysteries

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⠀ @sidereumnoxe.bsky.social · 18/02/2025

⠀some of it is ugly , obscene and bestial , some of it is pure and holy and spiritual : all of it is myself .

☥ @liamhfjone.bsky.social · 24/11/2024

done painting for today

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bryce handsome @sodapacks.bsky.social · 24/11/2024

trying something new #osc #hfjone #sodapack

☥ @liamhfjone.bsky.social · 24/11/2024

more painting

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☥ @liamhfjone.bsky.social · 24/11/2024

painting again

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☥ @liamhfjone.bsky.social · 10/11/2024

i'll be with you everywhere you go #xfohv #osc #bfb

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René Magritte @renemagritte.bsky.social · 04/11/2024

The heart of the matter

The heart of the matter

☥ @liamhfjone.bsky.social · 05/11/2024

beyond the pleasure principle #bfb #xfohv

☥ @liamhfjone.bsky.social · 03/11/2024

painting again

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pap @papyuuno.bsky.social · 27/10/2024

bro

☥ @liamhfjone.bsky.social · 27/10/2024

practicing 3

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☥ @liamhfjone.bsky.social · 27/10/2024

practicing 2

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Giovanni Colantonio @marioprime.bsky.social · 27/10/2024

My biggest hot take about media criticism is that “the biggest fan” of a thing is not inherently the best person to review that thing.

☥ @liamhfjone.bsky.social · 27/10/2024

practicing

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René Magritte @renemagritte.bsky.social · 26/10/2024

The Great War

The Great War

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⠀ @sidereumnoxe.bsky.social · 22/10/2024

⠀all people are driven to the point of eating their gods , after a time .

☥ @liamhfjone.bsky.social · 20/10/2024

sin 1 & sin 2

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rose @machinerywires.bsky.social · 19/10/2024

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milo's humble abode @bump3rcart.bsky.social · 19/10/2024

guess i could actually post something. I draw

☥ @liamhfjone.bsky.social · 19/10/2024

i adore the feeling of this account . it is soft and foresty-like.

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René Magritte @renemagritte.bsky.social · 19/10/2024

The treachery of images (This is not a pipe)

The treachery of images (This is not a pipe)

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René Magritte @renemagritte.bsky.social · 19/10/2024

The present

The present

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Haus of Decline @hausofdecline.bsky.social · 18/10/2024

A bunch of men are hanging out in a big hole. A sign points to it labelled "Hole." One of the men in the hole points to a sign that says "NEW HOLE." He says "hey look! someone made a new hole!" All the men frantically rush out of the old hole and into the new one. One comments "this feels like how the old hole used to feel."

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jamelle @jamellebouie.net · 18/10/2024

my dog pushed her bed in front of my desk to claim the spot as her own. she’s the captain now i guess

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ursidae @ursidae7.bsky.social · 17/10/2024

Falin #dungeonmeshi #art

☥ @liamhfjone.bsky.social · 17/10/2024

if you like liam plecak or hfjone do tell

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René Magritte @renemagritte.bsky.social · 17/10/2024

Not to be reproduced

Not to be reproduced

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René Magritte @renemagritte.bsky.social · 14/10/2024

The Banquet

This canvas is the last, largest, and most impressive of four oil paintings of this title; the three other paintings are all dated to 1957 (ill. 851–52, and p. 272, no. 857). There are also five versions of this image in gouache, starting in 1956 and extending to 1964 (ill. In ibid., vol. 4, 1994, p. 193, no. 1421, p. 198, no. 1429, p. 273, no. 1563, and pp. 275–76, nos. 1566 and 1568). Magritte first realized the idea and conceived the title for this series in the first of these gouaches completed in 1956 shortly after he announced to Mirabelle Dors and Maurice Rapin, in a letter of November 9, 1956, that "Le Banquet" was one of his latest "finds" (ibid., vol. 3, 1993, p. 267). The little sketch in this letter shows the main motif of the sun visible before a clump of trees set in an unspecified landscape. In the first oil version (as in the earlier related image, The Sixteenth of September, 1956, location unknown; ibid., vol. 3, 1993, p. 254, no. 834, ill., which shows the crescent moon on a large tree), the clump of trees is set in a meadowlike clearing dotted with large stones. In the second oil version of The Banquet, as in the Bergman canvas, the woodland glade is replaced with a stone parapet or balustrade, whose top is lit by the sun's rays. This feature suggests a parklike setting, a domesticated concept of nature suited to Magritte's deadpan, realist style. The proportions of the objects in relation to one another also differ from canvas to canvas; in the picture under discussion, the sun looms larger in relation to the trees than in other versions and appears therefore closer to the viewer. It is interesting that, although the motif in essential respects is identical, significant variations mark each version as a distinct image.
The Banquet series is a development of another series on which Magritte had started working in February 1956 and which he called The Place in the Sun. In these pictures, Magritte focused on the Surrealist idea of displacement, but with a particular twist. One object was superimposed on another larger one to which it was unrelated. The original series included an image of a seated scribe superimposed on an apple (ibid., vol. 3, 1993, pp. 252–53, no. 833, ill.) and Sandro Botticell’s Primavera silhouetted against a figure in a bowler hat seen from behind (ibid., vol. 3, 1998, p. 258, no. 837, ill.). Magritte's approach in these pictures resembled what he referred to as "Objective stimulus,'' a term he applied to those instances in which he replaced an object familiar to a particular context with one related to it but out of place, as he did in his 1933 painting Elective Affinities of a huge egg in a birdcage (Paris, E. Perier; Sarah Whitfield, Magritte, London, The Hayward Gallery, 1992, exh. cat., no. 60, ill., n. pag.). As he explained to Rapin, The Place in the Sun is if you like an 'Objective stimulus' with the difference that the image which comes 'on' another has a still greater charge of strangeness (ibid., vol. 3, 1993, p. 253). In a subsequent letter to Dors and Rapin, Magritte wrote of The Sixteenth of September, "I have continued with my 'Places in the Sun' but by now the title is no longer suitable for a big tree in the evening with a crescent moon above it!" (ibid., vol. 3, 1993, p. 254). The object that would have been hidden (crescent moon, sun) is now visible, hiding part of the object that would have hidden it.
These works are striking examples of Magritte's interest in the categories of the visible and the invisible. In a letter to André Bosmans of September 25, 1964, Magritte explained:

With regard to "the invisible," I understand that which is not visible, for example; heat, weight, pleasure, etc. There is the visible that is seen: the apple on the face in The Great War, and the visible that is hidden: the face hidden by the visible apple. In The Banquet the sun hidden by the curtain of trees is, itself, visible (René Magritte, Lettres à André Bosmans, 1958-1967, ed. by Francine Perceval, Brussels, 1990, p. 383).

According to the above criteria, the sun hidden by trees is an example of the "visible that is hidden." In the Banquet series, Magritte carried the implications of these reflections one step further: he actually rendered the sun visible by creating a visual conundrum, in which the sun is not displaced from its customary context, but rendered strange.
At this time Magritte seems to have been interested, moreover, in the varying quality of light at different times of day. Of the second version of The Sixteenth of September (1956, Antwerp, Koninklijk Museum voor Schone Kunsten; ibid., vol. 3, 1993, p. 257, no. 836, ill.), he wrote to Dors and Rapin on August 6, 1956: "I have just painted the moon on a tree in the gray-blue colors of evening" (ibid.). In the Bergman version of The Banquet, the strong red glow of the setting sun is framed by the darkening landscape, a naturalistic effect that further dramatizes the "charge of strangeness" (Magritte, quoted in ibid., vol. 3, 1993, p. 253).
The Bergman painting also has a strong formal quality, with the sun as a pure circle in the center, balanced by the strong architectural horizontal of the balustrade. In this respect, the picture recalls Max Ernst's Forest series of the late 1920s (Ernst Katalog, vol. 3, pp. 180-209, nos. 1140-96, ills.), where the circular forms of sun or moon work pictorially in both an abstract and figurative sense.
–Entry, Dawn Ades, Surrealist Art: The Lindy and Edwin Bergman Collection at the Art Institute of Chicago (Chicago: Art Institute of Chicago, 1997), pp. 172–74, cat. 86.

Lindy and Edwin Bergman Collection