| Oppressive depictions of violence and latent sexuality are a further trademark of Magritte’s. In “Les Jours gigantesques” (The Titanic Days), only the woman is visible full-figure. The man has taken partial possession of her, and she resists desperately. The more his figure obscures hers, the more he robs her of her existence, despite the fact that his existence depends on his taking possession of her body. Physical violence has seldom been depicted so penetratingly, nightmarishly, with no hope of escape. |
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