There’s a René Magritte retrospective at MOMA called “The Mystery of the Ordinary,” which covers the artist’s work from 1926 to 1938, the golden era of surrealism, during which Magritte and Salvador Dalí helped establish that art form in the public mind. And, in the public’s mind, at least as reflected in the mind of New Yorker cartoonists, that art form was anything but ordinary, and begged to be spoofed.
The first surrealist painting to appear in a New Yorker cartoon was Dalí’s “The Persistence of Memory,” from 1931.
The painting was referred to in this cartoon, published in the late thirties:
Dalí’s melted memory also makes an appearance in two other New Yorker cartoons. This one, by Sam Cobean, in 1947:
And this one, in 2007, by David Sipress:
Magritte’s paintings didn’t draw the humorous fire of cartoonists until much later, in the eighties, but his “Son of Man” in particular
has proven quite inspirational:
Magritte’s work provides excellent grist for the cartoon mill because it’s weird, and the weirdness is usually limited to just one incongruous element that can be manipulated, like the apple in front of the guy’s face. The difference between the two art forms is how Magritte’s work does not attempt to resolve the incongruities it creates but rather revels in them, while cartooning creates revelry by making sense of the incongruous.
Very few people would agree on what “The Son of Man” means, or who the guy in the painting is, but we all can make an assumption about who the guy in this cartoon is:
The logic of Sam Gross’s cartoon has made it clear. Mr. Banana Ear is Mr. Fruit Face’s friend.
So, with Magritte’s incongruity as the setup, let’s look at the punch lines that cartoons have made of his work:
O.K., now it’s your turn. Hanging below is Magritte’s 1928 painting “The Lovers.” All that’s required to make this sombre, ominous, ambiguous image as clear as day and as funny as hell is the right caption. Send them to newyorkercartoon@gmail.com and I’ll select the three best captions.
