René Magritte

In the present work a flat, circular moon illuminates an architectural scene that itself incorporates a spherical form. The cool, white light defines the sharp edges of the staircase and caresses the softer contours of the sphere, which could be interpreted as an earthly reflection of the luminescent moon. While windows are used in Magritte’s work as a device to create pictorial depth, an imaginary architectural structure such as that seen here is unusual in his work. Nevertheless, there are some similarities between this work and a painting of La Reconnaissance Infinie (1933), in which a large spherical moon with a human figure standing on top is depicted hovering over a mountain scene, observed through an architectural opening. There is a reference to the work of Giorgio de Chirico in this subject, particularly the use of architecture which stands without a central focus resulting in a mysterious, enigmatic atmosphere
(fig. 1).

In describing La Reconaissance Infinie to Paul Colinet in 1934 Magritte wrote: ‘The subject of this painting is the Moon.  What we have to do is find something that really makes us feel we are on a spherical world. If the moon illuminates a scene, it mustn’t be ranked as an indifferent spectator or a mere go-between, or simply have a picturesque role. A trap for the moon, an incantation, a lunar mirror – these give a slight idea of the sort of thing we should be looking for.’ (Sarah Whitfield, Magritte, The South Bank Centre, 1992).

Dr Maurice Cerf, the father-in-law of the present owner, was a specialist in gastro-enterology. He founded a health centre for artists or “Dispensaire des Artistes” at the Clinique du Parc Leopold in Brussels, together with two or three other doctors. He received the present work from Magritte, as compensation for treating the artist. Dr Cerf died in 1944; it is not known exactly when he received the work from Magritte.