Magritte, The Assassin                                                           Kahlo, Roots

The two paintings stand at polar ends of the Surrealist label, showing that this movement could be stretched to include almost anything of which the artists approved. Magritte’s work is ambiguous and hostile; although it suggests a narrative, nothing is certain other than the fact of powerful suited males and a passive female victim. Kahlo, on the hand, powerfully asserts her feminine connection to nature and her native Mexico, clearly conveying her hope to replenish both her broken body and her culture through artistic association.