The masked apples made their first appearance in this work of 1950. Magritte continued to incorporate the motif into several of his compositions over the next two decades with the interchangable title, Le Prêtre Marié.
Despite the fact that there are no eyes behind the masks, this anthropomorphising element succeeds in implying an intelligence to the apples that is accentuated by Magritte's deft depiction of the slightly jaunty angle at which they perch, as though eager and aware.

To be listed in the VIIth volume of the catalogue raisonné dedicated to editions.

all pictures: ©Charly Herscovici - ADAGP Paris 2011