This evocation of night and day seems to me to have the power to surprise and delight us. The landscape suggests night and the skyscape day. Thus, what is represented in the picture are the things I thought of, to be precise,Ī nocturnal landscape and a skyscape such as can be seen in broad daylight. What is represented in a picture is what is visible to the eye, it is the thing or the things that had to be thought of. Now, only a few tiny sparks of light endure in a sea of darkness. For nearly three decades, vampires have waged war against humanity building their eternal empire even as they tear down our own.

It has been twenty-seven long years since the last sunrise.

Magritte explained the origin of the image in a radio interview in 1956, stating: Featuring the darkly beautiful illustrations of Bon Orthwick (monolimeart). The bizarre subject is treated in an impersonal, precise style, typical of veristic Surrealist painting and preferred by Magritte since the mid-1920s. The luminosity of the sky becomes unsettling, making the empty darkness below even more impenetrable than it would seem in a normalĬontext. Sunlight, ordinarily the source of clarity, here causes theĬonfusion and unease traditionally associated with darkness. With no fantasticĮlement other than the single paradoxical combination of day and night, René Magritte upsets a fundamental organizing premise of life. In Empire of Light, numerous versions of which exist, a dark, nocturnal street scene is set against a pastel-blue, light-drenched sky spotted with fluffy cumulus clouds. Especially surreal is that the sky above the house and treeline is a daytime sky full of brightness and plump white clouds. The intriguing oil painting displays a beautiful house lit upīy its interior lights, and surrounded by the darkness of the night. It is the only time that Magritte used a title that was not his own. In 1953-1954, artist Rene Magritte painted The Empire of Lights.

Illumicrate empire of the vampire