This blog will be an inspiring-oasis of whatever the world around us has to offer. More specifically, a visual compendium of whatever pieces of the puzzle I have been able to accumlate thus far, and able to arrange in a discernably beautiful manner. Wanderings eventually lead to worthwhile wisdom, so long as you stop to ponder the purpose once and again.
Thus: stop, learn a bit, reflect, enjoy the day's offerings, and we'll move on to the next trail.
Thus and so are my means - this is the life's goal.
The piece depicts a scene of nearly identical men dressed in dark overcoats and bowler hats, who seem to be drops of heavy rain (or to be floating like helium balloons, though there is no actual indication of motion), against a backdrop of buildings and blue sky. The men are spaced in hexagonal grids facing the viewpoint and receding back in grid layers.
Charly Herscovici, who was bequeathed copyright on the artist’s works, commented on Golconda:
“Magritte was fascinated by the seductiveness of images. Ordinarily, you see a picture of something and you believe in it, you are seduced by it; you take its honesty for granted. But Magritte knew that representations of things can lie. These images of men aren’t men, just pictures of them, so they don’t have to follow any rules. This painting is fun, but it also makes us aware of the falsity of representation.”
As was often the case with Magritte’s works, the title Golconda was found by his poet friend Louis Scutenaire. Golconda is a ruined city in the state of Andhra Pradesh, India, near Hyderabad, which from the mid-14th century until the end of the 17th was the capital of two successive kingdoms; the fame it acquired through being the center of the region’s legendary diamond industry was such that its name remains, according to the Oxford English Dictionary, “a synonym for ‘mine of wealth’.”
Magritte included a likeness of Scutenaire in the painting – his face is used for the large man by the chimney of the house on the right of the picture.