PROLOGUE
Referring to the work of Giorgio De Chirico, René Magritte said one day that it was "a new vision, in which the viewer will find its isolation and the silence of the world." The Belgian artist
(born in 1898 and died in 1967) met the work of the theorist and inventor of the Met in 1925 and since then nothing would be more for him as before. The decision just mentioned was made by Magritte in the course of a conference held November 20, 1938 at the Musée Royal des Beaux-Arts in Antwerp. A few words in which he would be able to synthesize
deepest heart of his theoretical perspective; explaining also the assumption of an articulate and tireless reflection, absolutely imprscindibile for anyone who wanted or still want to understand not only groped, or rather not so much the shape of his career, as the need for stirring, which acts obsessive and relentless,
in any determination of his painting practice. On the other hand, we believe that in this dazzling and enigmatic about
expression is enclosed in the deepest sense of the perspective that time was indelibly marked by much of Western thought. In any case, before direct comparison with the theoretical production Magritte, we will try to clarify the meaning of the all too often evoked link between the artistic production of the Belgian artist and
one of the most extraordinary speculative topoi of the twentieth century - namely, the writing of psychoanalytic S. Freud (even in Freud's theoretical work, however, and with no less radical, an articulate and complex historical events would ultimately draw their Akme).
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