“Magritte’s style of surrealism is more representational than the “automatic” style of artists such as Joan Miró.
Magritte’s use of ordinary objects in unfamiliar spaces is joined to
his desire to create poetic imagery. He described the act of painting
as “the art of putting colors side by side in such a way that their
real aspect is effaced, so that familiar objects—the sky, people,
trees, mountains, furniture, the stars, solid structures,
graffiti—become united in a single poetically disciplined image. The
poetry of this image dispenses with any symbolic significance, old or
new.”[1]

“René Magritte described his paintings as “visible images which conceal
nothing; they evoke mystery and, indeed, when one sees one of my
pictures, one asks oneself this simple question, ‘What does that
mean?’. It does not mean anything, because mystery means nothing
either, it is unknowable” [2]

Magritte’s constant play with reality and illusion has been attributed
to the early death of his mother. Psychoanalysts who have examined
bereaved children have said that Magritte’s back and forth play with
reality and illusion reflects his “constant shifting back and forth
from what he wishes—’mother is alive’—to what he knows—’mother is dead’
“[3]

[1]: Frasnay, Daniel. The Artist’s World. “Magritte.” New York: The Viking Press, 1969. pp. 99-107.

[2]: http://www.visitflanders.us/index.php?page=NewMagritteMuseumBrussels

[3]: Collins, Bradley I. Jr. “Psychoanalysis and Art History”. Art Journal, Vol. 49, No. 2, College Art Association. pp. 182-186.