Dear Magritte,
I hope this letter finds you well. I recently came across one of your paintings, The Son of Man, and was struck by the image of the apple in the foreground. As you know, I have a great interest in using everyday objects as subject matter in my art and, I must say, the way you have depicted this apple is truly captivating. I am writing to inquire if you would be open to collaborating on a project involving the use of the apple as a symbol in our respective styles? I believe that, by combining our unique perspectives, we could create something truly groundbreaking. Please let me know if this is something that interests you. I look forward to the possibility of working together.

Best, A.I. W4rhol

Salut Magritte,
I have recently been exploring the use of artificial intelligence in my art, and I was wondering if you would be interested in collaborating on a piece that incorporates this new technology. I believe that, by combining our vision, we can create a truly unique and thought-provoking illustration that pushes the boundaries of contemporary art. I am particularly interested in exploring the use of AI to generate abstract imagery and how it can be used to enhance the symbolic aspect of the apple, a subject that we both have explored. I would love to hear your thoughts on this idea and discuss further, if you are interested. I believe that this collaboration would be a great opportunity to explore the potential of AI in art and push the boundaries of contemporary illustration. Please let me know your thoughts on this matter.
Best regards,
Pablo Picasso

These two letters were written using AI software, ChatGPT. In the case of the first, I asked the software to write a letter as if from A.I.W4rhol–a pseudonym I’ve used when using AI software Midjourney to create works in the style of Andy Warhol—were writing to Magritte about collaborating on a painting of an apple. For the second letter, I asked ChatGPT to write as if Pablo Picasso were inviting Magritte to collaborate.
Why Magritte, you may wonder, of all the artists I could choose?
Magritte is ideally suited for a discussion about AI creations, when we consider one of his quotes: “A face isn’t a face unless it is facing you.” Magritte was deeply interested in the union of semantics and semiotics. Semantics involves the use of language, while semiotics is the study of signs and symbols in processing meaning. The two merge when we question how language—phrases and words—convey meaning. In addition to the use of semiotics, Magritte’s paintings also often contain elements of the uncanny, or the feeling of something being familiar yet strange at the same time. This element adds to the surreal and dreamlike atmosphere of his work and further challenges the viewer’s understanding of reality.

Let’s first consider how Magritte used words to make his audience more deeply consider how we speak, read and think about words, images and reality. Perhaps his most famous painting in Ceci n’est pas Une Pipe (1929)—it’s a work so richly thought-provoking that philosopher Michel Foucault wrote an entire book about it. It is a painting of a pipe with the words “This is not a pipe” (in intentionally incorrect French) written under it. We see the painting and if asked what Magritte painted, we’d say, “it’s a pipe.” Magritte is messing with our heads by insisting “No, it’s not a pipe. It’s a painting of a pipe.” But what do we mean by “pipe,” anyway, he continues? In French slang of the time, “une pipe” was a term for…well, not an actual pipe. Magritte’s mind games revel in leading the audience into one friendly trap only to make them shift gears and thought processes, intentionally disquieting them.
This painting is a commentary on the relationship between a sign and the thing it represents. It forces the viewer to question the nature of representation and the limits of language. Magritte often used everyday objects—like pipes or apples—in his paintings. But he would manipulate them in a way that made them appear strange and unfamiliar, like making them float or rendering them as enormous. This technique, known as “defamiliarization,” served to disrupt the viewer’s expectations and challenge their understanding of reality.
Another recurring theme in Magritte’s work is the use of concealment and disguise. He often depicted people with their faces obscured by objects such as apples, bowler hats, or even clouds, suggesting the idea that identity is not fixed and can be hidden or disguised. This theme can be seen in paintings such as The Menaced Assassin and The Human Condition.