Regarding both their motifs and their style, the works of Magritte’s Période vache do not constitute a consistent ensemble but rather present themselves as a patchwork of different pseudo-styles borrowing more or less openly from other artists and drawing on the artist’s own earlier works. These elements are transformed into something comic, trivial, or grotesque by being blended with aspects of popular visual culture. With numerous art historical references – like to James Ensor, whose grotesque physiognomies are given another turn of the screw, to Henri Matisse, whose colorful ornaments are degraded to wallpaper-like décor, or to Joan Miró, who, as we know, was not held in high regard by the artist – Magritte ridicules traditional cultural values and aesthetic norms and distances himself from an art scene lusting for innovation. By presenting motifs taken from his own previous pictures in a new manner of painting, he turned into his own caricaturist, as it were. Contrary to his “classical” works, their cool, precise and realistic approach, and the conceptual consideration behind them, the works of Magritte’s Période vache strike us as colorful, two-dimensional, quickly painted, and radiating an astounding directness and spontaneity.