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Giorgio de Chirico

From Wikipedia, in a visual modern way
Giorgio de Chirico
Giorgio de Chirico (portrait).jpg
Photograph of Chirico by Carl Van Vechten in 1936
Born
Giuseppe Maria Alberto Giorgio de Chirico

(1888-07-10)10 July 1888
Volos, Greece
Died20 November 1978(1978-11-20) (aged 90)
Rome, Italy
Resting placeChurch of San Francesco a Ripa, Rome
41°53′06″N 12°28′23″E / 41.885127°N 12.473186°E / 41.885127; 12.473186
NationalityItalian
Education
Known forPainting, sculpture, drawing, costume and stage design
MovementMetaphysical art, surrealism
Spouses
​
​
(m. 1930⁠–⁠1931)​
[1]
Isabella Pakszwer Far
​
​
(m. 1946)​
[1]

Giuseppe Maria Alberto Giorgio de Chirico (/ˈkɪrɪkoʊ/ KIRR-ik-oh, Italian: [ˈdʒordʒo deˈkiːriko]; 10 July 1888 – 20 November 1978) was an Italian[2][3] artist and writer born in Greece. In the years before World War I, he founded the scuola metafisica art movement, which profoundly influenced the surrealists. His best-known works often feature Roman arcades, long shadows, mannequins, trains, and illogical perspective. His imagery reflects his affinity for the philosophy of Arthur Schopenhauer and of Friedrich Nietzsche, and for the mythology of his birthplace.

After 1919, he became a critic of modern art, studied traditional painting techniques, and worked in a neoclassical or neo-Baroque style, while frequently revisiting the metaphysical themes of his earlier work.

Discover more about Giorgio de Chirico related topics

World War I

World War I

World War I or the First World War, often abbreviated as WWI, was one of the deadliest global conflicts in history. It was fought between two coalitions, the Allies and the Central Powers. Fighting occurred throughout Europe, the Middle East, Africa, the Pacific, and parts of Asia. An estimated 9 million soldiers were killed in combat, plus another 23 million wounded, while 5 million civilians died as a result of military action, hunger, and disease. Millions more died as a result of genocide, while the 1918 Spanish flu pandemic was exacerbated by the movement of combatants during the war.

Surrealism

Surrealism

Surrealism is a cultural movement that developed in Europe in the aftermath of World War I in which artists depicted unnerving, illogical scenes and developed techniques to allow the unconscious mind to express itself. Its aim was, according to leader André Breton, to "resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality", or surreality. It produced works of painting, writing, theatre, filmmaking, photography, and other media.

Ancient Roman architecture

Ancient Roman architecture

Ancient Roman architecture adopted the external language of classical Greek architecture for the purposes of the ancient Romans, but was different from Greek buildings, becoming a new architectural style. The two styles are often considered one body of classical architecture. Roman architecture flourished in the Roman Republic and to even a greater extent under the Empire, when the great majority of surviving buildings were constructed. It used new materials, particularly Roman concrete, and newer technologies such as the arch and the dome to make buildings that were typically strong and well-engineered. Large numbers remain in some form across the former empire, sometimes complete and still in use to this day.

Mannequin

Mannequin

A mannequin is a doll, often articulated, used by artists, tailors, dressmakers, window dressers and others, especially to display or fit clothing and show off different fabrics and textiles. Previously, the English term referred to human models and muses ; the meaning as a dummy dating from the start of World War II.

Arthur Schopenhauer

Arthur Schopenhauer

Arthur Schopenhauer was a German philosopher. He is best known for his 1818 work The World as Will and Representation, which characterizes the phenomenal world as the product of a blind noumenal will. Building on the transcendental idealism of Immanuel Kant (1724–1804), Schopenhauer developed an atheistic metaphysical and ethical system that rejected the contemporaneous ideas of German idealism. He was among the first thinkers in Western philosophy to share and affirm significant tenets of Indian philosophy, such as asceticism, denial of the self, and the notion of the world-as-appearance. His work has been described as an exemplary manifestation of philosophical pessimism.

Friedrich Nietzsche

Friedrich Nietzsche

Friedrich Wilhelm Nietzsche was a German philosopher, prose poet, cultural critic, philologist, and composer whose work has exerted a profound influence on contemporary philosophy. He began his career as a classical philologist before turning to philosophy. He became the youngest person ever to hold the Chair of Classical Philology at the University of Basel in 1869 at the age of 24. Nietzsche resigned in 1879 due to health problems that plagued him most of his life; he completed much of his core writing in the following decade. In 1889, at age 44, he suffered a collapse and afterward a complete loss of his mental faculties, with paralysis and probably vascular dementia. He lived his remaining years in the care of his mother until her death in 1897 and then with his sister Elisabeth Förster-Nietzsche. Nietzsche died in 1900, after experiencing pneumonia and multiple strokes.

Neoclassicism

Neoclassicism

Neoclassicism was a Western cultural movement in the decorative and visual arts, literature, theatre, music, and architecture that drew inspiration from the art and culture of classical antiquity. Neoclassicism was born in Rome largely thanks to the writings of Johann Joachim Winckelmann, at the time of the rediscovery of Pompeii and Herculaneum, but its popularity spread all over Europe as a generation of European art students finished their Grand Tour and returned from Italy to their home countries with newly rediscovered Greco-Roman ideals. The main Neoclassical movement coincided with the 18th-century Age of Enlightenment, and continued into the early 19th century, laterally competing with Romanticism. In architecture, the style continued throughout the 19th, 20th and up to the 21st century.

Baroque painting

Baroque painting

Baroque painting is the painting associated with the Baroque cultural movement. The movement is often identified with Absolutism, the Counter Reformation and Catholic Revival, but the existence of important Baroque art and architecture in non-absolutist and Protestant states throughout Western Europe underscores its widespread popularity.

Life and works

The Song of Love, 1914, oil on canvas, 73 × 59.1 cm, Museum of Modern Art, New York
The Song of Love, 1914, oil on canvas, 73 × 59.1 cm, Museum of Modern Art, New York

Giuseppe Maria Alberto Giorgio de Chirico was born in Volos, Greece, as the eldest son of Gemma Cervetto and Evaristo de Chirico.[4] His mother was a baroness[5] of Genoese and Greek origins[6] (likely born in Smyrna) and his father a Sicilian barone [3][7] born in Florence from a family of Greek descent (the Kyriko or Chirico family was of Greek origin, having moved from Rhodes to Palermo in 1523 together with 4,000 other Greek Catholic families, and its members had almost completely moved to Tuscany in the early 17th century).[6][8] De Chirico's family was in Greece at the time of his birth because his father, an engineer, was in charge of the construction of a railroad.[9] His younger brother, Andrea Francesco Alberto, became a famous writer, painter and composer under the pseudonym Alberto Savinio.

Beginning in 1900, de Chirico studied drawing and painting at Athens Polytechnic — mainly under the guidance of the Greek painters Georgios Roilos and Georgios Jakobides. After Evaristo de Chirico's death in 1905, the family relocated in 1906 to Germany, after first visiting Florence.[10] De Chirico entered the Academy of Fine Arts in Munich, where he studied under Gabriel von Hackl and Carl von Marr and read the writings of the philosophers Friedrich Nietzsche, Arthur Schopenhauer and Otto Weininger. There, he also studied the works of Arnold Böcklin and Max Klinger.[11][12] The style of his earliest paintings, such as The Dying Centaur (1909), shows the influence of Böcklin.[10]

Metaphysical art

Main article: Metaphysical art

De Chirico returned to Italy in the summer of 1909 and spent six months in Milan. By 1910, he was beginning to paint in a simpler style with flat, anonymous surfaces. At the beginning of 1910, he moved to Florence where he painted the first of his 'Metaphysical Town Square' series, The Enigma of an Autumn Afternoon, after the revelation he felt in Piazza Santa Croce. He also painted The Enigma of the Oracle while in Florence. In July 1911 he spent a few days in Turin on his way to Paris. De Chirico was profoundly moved by what he called the 'metaphysical aspect' of Turin, especially the architecture of its archways and piazzas.

The paintings de Chirico produced between 1909 and 1919, his metaphysical period, are characterized by haunted, brooding moods evoked by their images. At the start of this period, his subjects were motionless cityscapes inspired by the bright daylight of Mediterranean cities, but gradually he turned his attention to studies of cluttered storerooms, sometimes inhabited by mannequin-like hybrid figures.

De Chirico's conception of Metaphysical art was strongly influenced by his reading of Nietzsche, whose style of writing fascinated de Chirico with its suggestions of unseen auguries beneath the appearance of things.[13] De Chirico found inspiration in the unexpected sensations that familiar places or things sometimes produced in him: In a manuscript of 1909 he wrote of the "host of strange, unknown and solitary things that can be translated into painting ... What is required above all is a pronounced sensitivity."[14] Metaphysical art combined everyday reality with mythology, and evoked inexplicable moods of nostalgia, tense expectation, and estrangement.[15] The picture space often featured illogical, contradictory, and drastically receding perspectives. Among de Chirico's most frequent motifs were arcades, of which he wrote: "The Roman arcade is fate ... its voice speaks in riddles which are filled with a peculiarly Roman poetry".[16]

De Chirico moved to Paris in July 1911, where he joined his brother Andrea. Through his brother he met Pierre Laprade, a member of the jury at the Salon d'Automne, where he exhibited three of his works: Enigma of the Oracle, Enigma of an Afternoon and Self-Portrait. During 1913 he exhibited paintings at the Salon des Indépendants and Salon d’Automne; his work was noticed by Pablo Picasso and Guillaume Apollinaire, and he sold his first painting, The Red Tower. His time in Paris also resulted in the production of de Chirico's Ariadne. In 1914, through Apollinaire, he met the art dealer Paul Guillaume, with whom he signed a contract for his artistic output.

Le mauvais génie d'un roi (The Evil Genius of a King), 1914–15, oil on canvas, 61 × 50.2 cm, Museum of Modern Art, New York
Le mauvais génie d'un roi (The Evil Genius of a King), 1914–15, oil on canvas, 61 × 50.2 cm, Museum of Modern Art, New York
The Seer, 1914–15, oil on canvas, 89.6 × 70.1 cm, Museum of Modern Art
The Seer, 1914–15, oil on canvas, 89.6 × 70.1 cm, Museum of Modern Art
Great Metaphysical Interior, 1917, oil on canvas, 95.9 × 70.5 cm, Museum of Modern Art
Great Metaphysical Interior, 1917, oil on canvas, 95.9 × 70.5 cm, Museum of Modern Art
Il grande metafisico (The Grand Metaphysician), 1917, oil on canvas, 104.8 x 69.5 cm
Il grande metafisico (The Grand Metaphysician), 1917, oil on canvas, 104.8 x 69.5 cm
Self-portrait (Autoritratto), 1920, oil on wood, 50.2 x 39.5 cm, Pinakothek der Moderne
Self-portrait (Autoritratto), 1920, oil on wood, 50.2 x 39.5 cm, Pinakothek der Moderne

At the outbreak of World War I, he returned to Italy. Upon his arrival in May 1915, he enlisted in the army, but he was considered unfit for work and assigned to the hospital at Ferrara. The shop windows of that town inspired a series of paintings that feature biscuits, maps, and geometric constructions in indoor settings.[17] In Ferrara he met with Carlo Carrà and together they founded the pittura metafisica movement.[12] He continued to paint, and in 1918, he transferred to Rome. Starting from 1918, his work was exhibited extensively in Europe.

Return to order

In November 1919, de Chirico published an article in Valori plastici entitled "The Return of Craftsmanship", in which he advocated a return to traditional methods and iconography.[18] This article heralded an abrupt change in his artistic orientation, as he adopted a classicizing manner inspired by such old masters as Raphael and Signorelli, and became part of the post-war return to order in the arts. He became an outspoken opponent of modern art.[19]

In the early 1920s, the Surrealist writer André Breton discovered one of de Chirico's metaphysical paintings on display in Guillaume's Paris gallery, and was enthralled.[20] Numerous young artists who were similarly affected by de Chirico's imagery became the core of the Paris Surrealist group centered around Breton. In 1924 de Chirico visited Paris and was accepted into the group, although the surrealists were severely critical of his post-metaphysical work.[21]

De Chirico met and married his first wife, the Russian ballerina Raissa Gurievich (1894-1979) in 1925, and together they moved to Paris.[22] His relationship with the Surrealists grew increasingly contentious, as they publicly disparaged his new work; by 1926 he had come to regard them as "cretinous and hostile".[23] They soon parted ways in acrimony. In 1928 he held his first exhibition in New York City and shortly afterwards, London. He wrote essays on art and other subjects, and in 1929 published a novel entitled Hebdomeros, the Metaphysician. Also in 1929, he made stage designs for Sergei Diaghilev.[12]

De Chirico in 1970, photographed by Paolo Monti. Fondo Paolo Monti, BEIC
De Chirico in 1970, photographed by Paolo Monti. Fondo Paolo Monti, BEIC

Later work

In 1930, de Chirico met his second wife, Isabella Pakszwer Far (1909–1990), a Russian, with whom he would remain for the rest of his life. Together they moved to Italy in 1932 and to the US in 1936,[12] finally settling in Rome in 1944. In 1948 he bought a house near the Spanish Steps; now the Giorgio de Chirico House Museum, a museum dedicated to his work.

In 1939, he adopted a neo-Baroque style influenced by Rubens.[22] De Chirico's later paintings never received the same critical praise as did those from his metaphysical period. He resented this, as he thought his later work was better and more mature. He nevertheless produced backdated "self-forgeries" both to profit from his earlier success, and as an act of revenge—retribution for the critical preference for his early work.[24] He also denounced many paintings attributed to him in public and private collections as forgeries.[25] In 1945, he published his memoirs.[12]

He remained extremely prolific even as he approached his 90th year.[26] During the 1960s, Massimiliano Fuksas worked in his atelier. In 1974 de Chirico was elected to the French Académie des Beaux-Arts. He died in Rome on 20 November 1978. In 1992 his remains were moved to the Roman church of San Francesco a Ripa.[27]

Discover more about Life and works related topics

Museum of Modern Art

Museum of Modern Art

The Museum of Modern Art (MoMA) is an art museum located in Midtown Manhattan, New York City, on 53rd Street between Fifth and Sixth Avenues.

Baron

Baron

Baron is a rank of nobility or title of honour, often hereditary, in various European countries, either current or historical. The female equivalent is baroness. Typically, the title denotes an aristocrat who ranks higher than a lord or knight, but lower than a viscount or count. Often, barons hold their fief – their lands and income – directly from the monarch. Barons are less often the vassals of other nobles. In many kingdoms, they were entitled to wear a smaller form of a crown called a coronet.

Palermo

Palermo

Palermo is a city in southern Italy, the capital of both the autonomous region of Sicily and the Metropolitan City of Palermo, the city's surrounding metropolitan province. The city is noted for its history, culture, architecture and gastronomy, playing an important role throughout much of its existence; it is over 2,700 years old. Palermo is in the northwest of the island of Sicily, by the Gulf of Palermo in the Tyrrhenian Sea.

Greek Catholic Church

Greek Catholic Church

The term Greek Catholic Church can refer to a number of Eastern Catholic Churches following the Byzantine (Greek) liturgy, considered collectively or individually.

Alberto Savinio

Alberto Savinio

Alberto Savinio [alˈbɛrto saˈvinjo], born as Andrea Francesco Alberto de Chirico was a Greek-Italian writer, painter, musician, journalist, essayist, playwright, set designer and composer. He was the younger brother of 'metaphysical' painter Giorgio de Chirico. His work often dealt with philosophical and psychological themes, and he was also heavily concerned with the philosophy of art.

Georgios Roilos

Georgios Roilos

Georgios Roilos was one of the most important and influential Greek painters of the late 19th-early 20th century. He belonged to the so-called "Munich School". His major works include historical topics, portraits, and scenes of everyday life. One of his most famous paintings is “The Poets”, which depicts some of the most important representatives of the New Athenian school of poetry, also known as the Generation of 1880.

Georgios Jakobides

Georgios Jakobides

Georgios Jakobides was a painter and one of the main representatives of the Greek artistic movement of the Munich School. He founded and was the first curator of the National Gallery of Greece in Athens.

Academy of Fine Arts, Munich

Academy of Fine Arts, Munich

The Academy of Fine Arts, Munich is one of the oldest and most significant art academies in Germany. It is located in the Maxvorstadt district of Munich, in Bavaria, Germany.

Munich

Munich

Munich is the capital and most populous city of the German state of Bavaria. With a population of 1,558,395 inhabitants as of 31 July 2020, it is the third-largest city in Germany, after Berlin and Hamburg, and thus the largest which does not constitute its own state, as well as the 11th-largest city in the European Union. The city's metropolitan region is home to 6 million people. Straddling the banks of the River Isar north of the Bavarian Alps, Munich is the seat of the Bavarian administrative region of Upper Bavaria, while being the most densely populated municipality in Germany with 4,500 people per km2. Munich is the second-largest city in the Bavarian dialect area, after the Austrian capital of Vienna.

Gabriel von Hackl

Gabriel von Hackl

Gabriel (von) Hackl was a German historicist painter.

Carl von Marr

Carl von Marr

Carl von Marr was an American-born German painter whose work encompassed religious and mythological subjects, genre, and portraits. He was also a professor of art in Munich.

Friedrich Nietzsche

Friedrich Nietzsche

Friedrich Wilhelm Nietzsche was a German philosopher, prose poet, cultural critic, philologist, and composer whose work has exerted a profound influence on contemporary philosophy. He began his career as a classical philologist before turning to philosophy. He became the youngest person ever to hold the Chair of Classical Philology at the University of Basel in 1869 at the age of 24. Nietzsche resigned in 1879 due to health problems that plagued him most of his life; he completed much of his core writing in the following decade. In 1889, at age 44, he suffered a collapse and afterward a complete loss of his mental faculties, with paralysis and probably vascular dementia. He lived his remaining years in the care of his mother until her death in 1897 and then with his sister Elisabeth Förster-Nietzsche. Nietzsche died in 1900, after experiencing pneumonia and multiple strokes.

Style

De Chirico's best-known works are the paintings of his metaphysical period. In them he developed a repertoire of motifs—empty arcades, towers, elongated shadows, mannequins, and trains among others—that he arranged to create "images of forlornness and emptiness" that paradoxically also convey a feeling of "power and freedom".[28] According to Sanford Schwartz, de Chirico—whose father was a railroad engineer—painted images that suggest "the way you take in buildings and vistas from the perspective of a train window. His towers, walls, and plazas seem to flash by, and you are made to feel the power that comes from seeing things that way: you feel you know them more intimately than the people do who live with them day by day."[29]

In 1982, Robert Hughes wrote that de Chirico

could condense voluminous feeling through metaphor and association ... In The Joy of Return, 1915, de Chirico's train has once more entered the city ... a bright ball of vapor hovers directly above its smokestack. Perhaps it comes from the train and is near us. Or possibly it is a cloud on the horizon, lit by the sun that never penetrates the buildings, in the last electric blue silence of dusk. It contracts the near and the far, enchanting one's sense of space. Early de Chiricos are full of such effects. Et quid amabo nisi quod aenigma est? ("What shall I love if not the enigma?")—this question, inscribed by the young artist on his self-portrait in 1911, is their subtext.[30]

In this, he resembles his more representational American contemporary, Edward Hopper: their pictures' low sunlight, their deep and often irrational shadows, their empty walkways and portentous silences creating an enigmatic visual poetry.[31]

Legacy

Piazza d'Italia by Giorgio de Chirico, 1952
Piazza d'Italia by Giorgio de Chirico, 1952

De Chirico won praise for his work almost immediately from the writer Guillaume Apollinaire, who helped to introduce his work to the later Surrealists. De Chirico strongly influenced the Surrealist movement: Yves Tanguy wrote how one day in 1922 he saw one of de Chirico's paintings in an art dealer's window, and was so impressed by it he resolved on the spot to become an artist—although he had never even held a brush. Other Surrealists who acknowledged de Chirico's influence include Max Ernst, Salvador Dalí, and René Magritte, who described his first sighting of de Chirico's The Song of Love as "one of the most moving moments of my life: my eyes saw thought for the first time."[32] Other artists as diverse as Giorgio Morandi, Carlo Carrà, Paul Delvaux, Carel Willink, Harue Koga, Philip Guston, Andy Warhol and Mark Kostabi were influenced by de Chirico.

De Chirico's style has influenced several filmmakers, particularly in the 1950s through 1970s. The visual style of the French animated film Le Roi et l'oiseau, by Paul Grimault and Jacques Prévert, was influenced by de Chirico's work, primarily via Tanguy, a friend of Prévert.[33] The visual style of Valerio Zurlini's film The Desert of the Tartars (1976) was influenced by de Chirico's work.[34] Michelangelo Antonioni, the Italian film director, also said he was influenced by de Chirico. Some comparison can be made to the long takes in Antonioni's films from the 1960s, in which the camera continues to linger on desolate cityscapes populated by a few distant figures, or none at all, in the absence of the film's protagonists.

In 1958, Riverside Records used a reproduction of de Chirico's 1915 painting The Seer (originally painted as a tribute to French poet Arthur Rimbaud) as the cover art for pianist Thelonious Monk's live album Misterioso. The choice was made to capitalize on Monk's popularity with intellectual and bohemian fans from venues such as the Five Spot Café, where the album had been recorded, but Monk biographer Robin Kelley later observed deeper connections between the painting and the pianist's music; Rimbaud had "called on the artist to be a seer in order to plumb the depths of the unconscious in the quest for clairvoyance ... The one-eyed figure represented the visionary. The architectural forms and the placement of the chalkboard evoked the unity of art and science—a perfect symbol for an artist whose music has been called 'mathematical.'"[35]

Writers who have appreciated de Chirico include John Ashbery, who has called Hebdomeros "probably ... the finest [major work of Surrealist fiction]."[36] Several of Sylvia Plath's poems are influenced by de Chirico.[37] In his book Blizzard of One Mark Strand included a poetic diptych called "Two de Chiricos": "The Philosopher's Conquest" and "The Disquieting Muses".

Gabriele Tinti composed three poems[38] inspired by de Chirico's paintings: The Nostalgia of the Poet (1914),[39] The Uncertainty of the Poet (1913), and Ariadne (1913),[40] works in the Peggy Guggenheim Collection, the Tate, and the Metropolitan Museum of Art, respectively. The poems were read by actor Burt Young at the Met in 2016.[41][42][43]

The box art for Fumito Ueda's PlayStation 2 game Ico sold in Japan and Europe was strongly influenced by de Chirico.[44]

The cover art of New Order's single "Thieves Like Us" is based on de Chirico's painting The Evil Genius of a King.[45]

The music video for the David Bowie song "Loving the Alien" was partly influenced by de Chirico. Bowie was an admirer of his genderless tailors' dummies.[46]

Discover more about Legacy related topics

Guillaume Apollinaire

Guillaume Apollinaire

Guillaume Apollinaire was a French poet, playwright, short story writer, novelist, and art critic of Polish descent.

Max Ernst

Max Ernst

Max Ernst was a German painter, sculptor, printmaker, graphic artist, and poet. A prolific artist, Ernst was a primary pioneer of the Dada movement and Surrealism in Europe. He had no formal artistic training, but his experimental attitude toward the making of art resulted in his invention of frottage—a technique that uses pencil rubbings of textured objects and relief surfaces to create images—and grattage, an analogous technique in which paint is scraped across canvas to reveal the imprints of the objects placed beneath. Ernst is noted for his unconventional drawing methods as well as for creating novels and pamphlets using the method of collages. He served as a soldier for four years during World War I, and this experience left him shocked, traumatised and critical of the modern world. During World War II he was designated an "undesirable foreigner" while living in France. He died in Paris on 1 April 1976.

Giorgio Morandi

Giorgio Morandi

Giorgio Morandi was an Italian painter and printmaker who specialized in still lifes. His paintings are noted for their tonal subtlety in depicting simple subjects, mainly vases, bottles, bowls, flowers, and landscapes.

Carlo Carrà

Carlo Carrà

Carlo Carrà was an Italian painter and a leading figure of the Futurist movement that flourished in Italy during the beginning of the 20th century. In addition to his many paintings, he wrote a number of books concerning art. He taught for many years in the city of Milan.

Paul Delvaux

Paul Delvaux

Paul Delvaux was a Belgian painter noted for his dream-like scenes of women, classical architecture, trains and train stations, and skeletons, often in combination. He is often considered a surrealist, although he only briefly identified with the Surrealist movement. He was influenced by the works of Giorgio de Chirico and René Magritte, but developed his own fantastical subjects and hyper-realistic styling, combining the detailed classical beauty of academic painting with the bizarre juxtapositions of surrealism.

Carel Willink

Carel Willink

Albert Carel Willink was a Dutch painter who called his style of Magic realism "imaginary realism".

Harue Koga

Harue Koga

Harue Koga was a Japanese avant-garde painter active from the 1910s to the early 1930s. He is considered to be one of the first and one of the most representative Japanese surrealist painters.

Andy Warhol

Andy Warhol

Andy Warhol was an American visual artist, film director, and producer who was a leading figure in the visual art movement known as pop art. His works explore the relationship between artistic expression, advertising, and celebrity culture that flourished by the 1960s, and span a variety of media, including painting, silkscreening, photography, film, and sculpture. Some of his best-known works include the silkscreen paintings Campbell's Soup Cans (1962) and Marilyn Diptych (1962), the experimental films Empire (1964) and Chelsea Girls (1966), and the multimedia events known as the Exploding Plastic Inevitable (1966–67).

Mark Kostabi

Mark Kostabi

Kalev Mark Kostabi is an American artist and composer.

Paul Grimault

Paul Grimault

Paul Grimault was one of the most important French animators. He made many traditionally animated films that were delicate in style, satirical, and lyrical in nature.

Jacques Prévert

Jacques Prévert

Jacques Prévert was a French poet and screenwriter. His poems became and remain popular in the French-speaking world, particularly in schools. His best-regarded films formed part of the poetic realist movement, and include Les Enfants du Paradis (1945). He published his first book in 1946.

Michelangelo Antonioni

Michelangelo Antonioni

Michelangelo Antonioni was an Italian director and filmmaker. He is best known for his "trilogy on modernity and its discontents"—L'Avventura (1960), La Notte (1961), and L'Eclisse (1962)—as well as the English-language film Blow-up (1966). His films have been described as "enigmatic and intricate mood pieces" that feature elusive plots, striking visual composition, and a preoccupation with modern landscapes. His work substantially influenced subsequent art cinema. Antonioni received numerous awards and nominations throughout his career, being the only director to have won the Palme d'Or, the Golden Lion, the Golden Bear and the Golden Leopard.

Honours


Selected works

The Red Tower (1913), Peggy Guggenheim Collection
The Red Tower (1913), Peggy Guggenheim Collection
The Disquieting Muses (1947), replica of the 1916 painting, University of Iowa Museum of Art
The Disquieting Muses (1947), replica of the 1916 painting, University of Iowa Museum of Art
  • Italian Piazza, Maschere and Departure of the Argonauts (1921)
  • The Great Tower (1921)
  • The Prodigal Son (1922)
  • Florentine Still Life (c. 1923)
  • The House with the Green Shutters (1924)
  • The Great Machine (1925) Honolulu Museum of Art
  • Au Bord de la Mer, Le Grand Automate, The Terrible Games, Mannequins on the Seashore and The Painter (1925)
  • La Commedia e la Tragedia (Commedia Romana), The Painter's Family and Cupboards in a Valley (1926)
  • L’Esprit de Domination, The Eventuality of Destiny (Monumental Figures), Mobili nella valle and The Archaeologists (1927)
  • Temple et Forêt dans la Chambre (1928)
  • Gladiatori (began in 1927), The Archaeologists IV (from the series Metamorphosis), The return of the Prodigal son I (from the series Metamorphosis) and Bagnante (Ritratto di Raissa) (1929)
  • I fuochi sacri (for the Calligrammes) 1929
  • Illustrations from the book Calligrammes by Guillaume Apollinaire (1930)
  • I Gladiatori (Combattimento) (1931)
  • Milan Cathedral, 1932
  • Cavalos a Beira-Mar (1932–1933)
  • Cavalli in Riva al Mare (1934)
  • La Vasca di Bagni Misteriosi (1936)
  • The Vexations of The Thinker (1937)
  • Self-portrait (1935–1937)
  • Archeologi (1940)
  • Illustrations from the book L’Apocalisse (1941)
  • Portrait of Clarice Lispector (1945)
  • Villa Medici – Temple and Statue (1945)
  • Minerva (1947)
  • Metaphysical Interior with Workshop (1948)
  • Venecia, Puente de Rialto
  • Fiat (1950)
  • Piazza d'Italia (1952)
  • The Fall – Via Crucis (1947–54)
  • Venezia, Isola di San Giorgio (1955)
  • Salambò su un cavallo impennato (1956)
  • Metaphysical Interior with Biscuits (1958)
  • Piazza d'Italia (1962)
  • Cornipedes, (1963)
  • La mia mano sinistra, (1963), Chianciano Museum of Art
  • Manichino (1964)
  • Ettore e Andromaca (1966)
  • The Return of Ulysses, Interno Metafisico con Nudo Anatomico and Mysterious Baths – Flight Toward the Sea (1968)
  • Il rimorso di Oreste, La Biga Invincibile and Solitudine della Gente di Circo (1969)
  • Orfeo Trovatore Stanco, Intero Metafisico and Muse with Broken Column (1970)
  • Metaphysical Interior with Setting Sun (1971)
  • Sole sul cavalletto (1973)
  • Mobili e rocce in una stanza, La Mattina ai Bagni misteriosi, Piazza d'Italia con Statua Equestre, La mattina ai bagni misteriosi and Ettore e Andromaca (1973)
  • Pianto d'amore – Ettore e Andromaca and The Sailors' Barracks (1974)

Discover more about Selected works related topics

Peggy Guggenheim Collection

Peggy Guggenheim Collection

The Peggy Guggenheim Collection is an art museum on the Grand Canal in the Dorsoduro sestiere of Venice, Italy. It is one of the most visited attractions in Venice. The collection is housed in the Palazzo Venier dei Leoni, an 18th-century palace, which was the home of the American heiress Peggy Guggenheim for three decades. She began displaying her private collection of modern artworks to the public seasonally in 1951. After her death in 1979, it passed to the Solomon R. Guggenheim Foundation, which opened the collection year-round from 1980.

Alberto Savinio

Alberto Savinio

Alberto Savinio [alˈbɛrto saˈvinjo], born as Andrea Francesco Alberto de Chirico was a Greek-Italian writer, painter, musician, journalist, essayist, playwright, set designer and composer. He was the younger brother of 'metaphysical' painter Giorgio de Chirico. His work often dealt with philosophical and psychological themes, and he was also heavily concerned with the philosophy of art.

The Enigma of the Hour

The Enigma of the Hour

The Enigma of the Hour is a painting by the Italian metaphysical painter Giorgio de Chirico. He created the work during his early period, in Florence, when he focused on metaphysical depictions of town squares and other urban environments. It is not clear whether it was dated 1910 or 1911.

Le Rêve Transformé

Le Rêve Transformé

Le Rêve Transformé is a 1913 painting by the Italian metaphysical painter Giorgio de Chirico. This work contains the classic Chirico's images of an empty urban scene at late evening with a ghostly train on the horizon. In this case in the foreground is an arrangement of bananas, pineapples and a Greek sculpture.

Guillaume Apollinaire

Guillaume Apollinaire

Guillaume Apollinaire was a French poet, playwright, short story writer, novelist, and art critic of Polish descent.

Gare Montparnasse (The Melancholy of Departure)

Gare Montparnasse (The Melancholy of Departure)

Gare Montparnasse (1914) is a painting by the Italian metaphysical painter Giorgio de Chirico. Many of de Chirico's works were inspired by the introspective feelings evoked by travel. He was born in Greece to Italian parents. This work was painted during a period when he lived in Paris.

The Double Dream of Spring

The Double Dream of Spring

The Double Dream of Spring is a painting by the Italian metaphysical painter Giorgio de Chirico.

The Disquieting Muses

The Disquieting Muses

The Disquieting Muses is a painting by the Italian metaphysical painter Giorgio de Chirico.

Metaphysical Interior with Biscuits

Metaphysical Interior with Biscuits

Metaphysical Interior with Biscuits is a 1916 painting by Italian metaphysical painter Giorgio de Chirico. It is one of the earliest editions in a series of works that extended late into Chirico's career.

Metaphysical Interior with Large Factory

Metaphysical Interior with Large Factory

Metaphysical Interior with Large Factory (1916–17) is a painting by the Italian metaphysical painter Giorgio de Chirico. It is part of a series that extended late into de Chirico's career.

Honolulu Museum of Art

Honolulu Museum of Art

The Honolulu Museum of Art is an art museum in Honolulu, Hawaiʻi. The museum is the largest of its kind in the state, and was founded in 1922 by Anna Rice Cooke. The museum has one of the largest single collections of Asian and Pan-Pacific art in the United States, and since its official opening on April 8, 1927, its collections have grown to more than 55,000 works of art.

Clarice Lispector

Clarice Lispector

Clarice Lispector was a Ukrainian-born Brazilian novelist and short story writer. Her innovative, idiosyncratic works explore a variety of narrative styles with themes of intimacy and introspection, and have subsequently been internationally acclaimed. Born to a Jewish family in Podolia in Western Ukraine, as an infant she moved to Brazil with her family, amidst the disasters engulfing her native land following the First World War.

Writings

  • Hebdomeros (1929)
  • The Memoirs of Giorgio De Chirico, trans. Margaret Crosland (Da Capo Press 1994)
  • Geometry of Shadows (poems), trans. Stefania Heim (Public Space Books 2019)

Films about

  • Aenigma Est (1990) – Director: Dimitri Mavrikios; Screenplay: Thomas Moschopoulos, Dimitri Mavrikios
  • Giorgio de Chirico: Argonaut of the Soul (2010) – documentary film: Directors and screenplay: Kostas Anestis and George Lagdaris[48][49]

Source: "Giorgio de Chirico", Wikipedia, Wikimedia Foundation, (2023, March 15th), https://en.wikipedia.org/wiki/Giorgio_de_Chirico.

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Further Reading

Carlo Carrà

Metaphysical painting

The Nostalgia of the Infinite

The Song of Love

Alberto Savinio

The Disquieting Muses

The Enigma of the Hour

Enrico Coleman

Armando Spadini

Gabriele Tinti (actor)

Gabriele Tinti (poet)

Sergio Ceccotti

Mario Tozzi

Bernardino Luino

Luciano de Liberato

Philippe Daverio

Hebdomeros

Gabriele Patriarca
References
  1. ^ a b "Biography". Fondazione Giorgio e Isa de Chirico.
  2. ^ Union List of Artist Names Online, retrieved 15 February 2019.
  3. ^ a b Rivosecchi, Valerio (1987). "De Chirico, Giorgio". Enciclopedia Italiana (in Italian). Retrieved 17 February 2019.
  4. ^ "Giorgio de Chirico | Fondazione Giorgio e Isa de Chirico" (in Italian). Retrieved 4 June 2020.
  5. ^ Anissia Becerra. "De Chirico" (PDF). marsilioeditori.it (in Italian). Retrieved 7 January 2022.
  6. ^ a b Nikolaos Velissiotis, "The Origins of Adelaide Mabili and Her Marriage to Giorgio De Chirico: Restoration of the Historical Truth" Archived 15 February 2019 at the Wayback Machine, Metaphysical Art, 2013|N° 11/13.
  7. ^ Aa.Vv. (2014). Giorgio De Chirico. L'uomo, l'artista, il polemico: Guida alle interviste 1938–1978 (in Italian). Roma: Gangemi. p. 64. ISBN 978-8849224320.
  8. ^ "Figure 1: The map depicts in dotted lines the successive moves of de..." ResearchGate.
  9. ^ Aa.Vv. (2014). Giorgio De Chirico. L'uomo, l'artista, il polemico: Guida alle interviste 1938–1978 (in Italian). Roma: Gangemi. p. 49. ISBN 978-8849224320.
  10. ^ a b Gale, Matthew (2003, January 01). "De Chirico, Giorgio". Grove Art Online. Ed.
  11. ^ Holzhey, Magdalena. Giorgio de Chirico. Cologne: Taschen, 2005, p. 10. ISBN 3-8228-4152-8
  12. ^ a b c d e see the entry on de Chirico in "Propyläen Kunstgeschichte, Die Kunst des 20. Jahrhunderts 1880–1940", by Giulio Carlo Argan, 1990, p. 201, ISBN 9783549051122
  13. ^ Holzhey 2005, p. 14.
  14. ^ Holzhey 2005, p. 15.
  15. ^ Holzhey 2005, p. 25.
  16. ^ Holzhey 2005, pp. 15–18.
  17. ^ Holzhey 2005, p. 46.
  18. ^ Metken, G. (1981). Realismus: zwischen Revolution und Reaktion, 1919–1939 : [Ausstellung im Centre Georges Pompidou, Paris, 17. Dezember 1980-20. April 1981 : Ausstellung in der Staatlichen Kunsthalle, Berlin, 16. Mai-28. Juni 1981. München: Prestel-Verlag. pp. 83–84. ISBN 3791305409.
  19. ^ Schwartz, Sanford. Artists and Writers. New York: Yarrow Press, 1990, pp. 28–29. ISBN 1-878274-01-5
  20. ^ Holzhey 2005, p. 62.
  21. ^ Holzhey 2005, p. 67.
  22. ^ a b Holzhey 2005, p. 94.
  23. ^ Cowling, Elizabeth; Mundy, Jennifer. On Classic Ground: Picasso, Léger, de Chirico and the New Classicism, 1910–1930. London: Tate Gallery, 1990, p. 81. ISBN 1-854-37043-X
  24. ^ "Giorgio De Chirico". www.artchive.com. Archived from the original on 14 February 2007. Retrieved 2 January 2008.
  25. ^ The Memoirs of Giorgio de Chirico, Perseus Books Group, 1994, ISBN 0306805685
  26. ^ Schwartz 1990, p. 29.
  27. ^ "Cappella di Giorgio De Chirico". sanfrancescoaripa.it (in Italian). Retrieved 11 May 2019.
  28. ^ Schwartz 1990, p. 22.
  29. ^ Schwartz 1990, pp. 23–24.
  30. ^ Hughes, Robert, essay from Nothing If Not Critical: Selected Essays on Art and Artists, 1982, seen at artchive.com Archived 2007-02-14 at the Wayback Machine, retrieved June 19, 2013.
  31. ^ Wells, Walter, Silent Theater: the Art of Edward Hopper, London/New York: Phaidon, 2007
  32. ^ Marler, Regina (25 October 2018). "Every Time I Look at It I Feel Ill". New York Review of Books. ISSN 0028-7504. Retrieved 22 January 2019.
  33. ^ Quelques propositions d’activités – Le roi et l'oiseau Archived 2012-07-10 at the Wayback Machine, Paola Martini et Pascale Ramel, p. 4
  34. ^ Rolando Caputo. "Literary cineastes: the Italian novel and the cinema". Peter E. Bondanella & Andrea Ciccarelli (eds.). The Cambridge Companion to the Italian Novel. Cambridge: Cambridge University Press, 2003. Pp. 182–196.
  35. ^ O'Meally 1997, p. 39; Kelley 2009, p. 249
  36. ^ Selected Prose, p. 89. (Originally in Book Week 4:15 (Dec. 18, 1966))
  37. ^ Christina Britzolakis, "Conversation amongst the Ruins: Plath and de Chirico", in Connors & Bayley, eds., 'Eye Rhymes: Sylvia Plath's Art of the Visual' (Oxford University Press 2007)
  38. ^ "The Nostalgia of the Poet – a project by Gabriele Tinti - Fondazione Giorgio e Isa de Chirico". www.fondazionedechirico.org.
  39. ^ Letteratura, Rai. "Gabriele Tinti: La nostalgia del poeta, Omaggio a Giorgio de Chirico". Il portale sulla letteratura di Rai Cultura.
  40. ^ Letteratura, Rai. "Gabriele Tinti: La nostalgia del poeta, Omaggio a Giorgio De Chirico (2)". Il portale sulla letteratura di Rai Cultura.
  41. ^ Letteratura, Rai. "Gabriele Tinti: La nostalgia del poeta, Omaggio a Giorgio De Chirico (2)". Il portale sulla letteratura di Rai Cultura (in Italian). Retrieved 22 January 2019.
  42. ^ Letteratura, Rai. "Gabriele Tinti: La nostalgia del poeta, Omaggio a Giorgio de Chirico". Il portale sulla letteratura di Rai Cultura (in Italian). Retrieved 22 January 2019.
  43. ^ "Readings". Gabriele Tinti. Retrieved 22 January 2019.
  44. ^ Mielke, James; Rybicki, Joe (23 September 2005). "A Giant in the Making". 1UP. Archived from the original on 22 May 2011. Retrieved 19 June 2013.
  45. ^ No more rules: graphic design and postmodernism. 1 June 2004.
  46. ^ Paglia, Camille (17 September 2019). Provocations: Collected Essays on Art, Feminism, Politics, Sex, and Education. Knopf Doubleday Publishing Group. ISBN 978-0-525-43386-6.
  47. ^ Index biographique des membres et associés de l'Académie royale de Belgique (1769–2005), p. 72.
  48. ^ "Giorgio de Chirico – Argonaut of the soul".
  49. ^ "Giorgio de Chirico - Argonaut of the Soul". Film Festival World. 7 September 2010. Archived from the original on 3 June 2013. Retrieved 19 June 2013.

Bibliography

Further reading
  • Baldacci, Paolo & Fagiolo Dell’Arco, Maurizio (1982), Giorgio de Chirico Parigi 1924–1930, Galleria Philippe Daverio, Milano
  • Brandani, Edoardo (a cura di), Di Genova, Giorgio, Bonfiglioli, Patrizia (1999), Giorgio de Chirico, catalogo dell'opera grafica 1969–1977, Edizioni Bora, Bologna
  • Bruni, C., Cat. generale di opere di Giorgio de Chirico, Milano 1971–74
  • Ciranna, A., Giorgio de Chirico. Cat. delle opere grafiche 1921 a 1969, Milano, 1969
  • Calvesi, Maurizio, & Mori, Gioia (2007), De Chirico, Giunti Editore, Firenze, 1988
  • de Chirico, gli anni Venti, curated by Maurizio Fagiolo dell’Arco, exhibition catalogue, Galleria dello Scudo, Verona, 1986-1987; Mazzotta, Milan, 1986
  • Fagiolo Dell’Arco, Maurizio (1999), L'opera completa di de Chirico 1908–1924, Rizzoli, Milano, 1984
  • Fagiolo Dell’Arco, Maurizio (1991), Giorgio de Chirico carte, Extra Moenia Arte Moderna, Todi
  • Fagiolo Dell’Arco, Maurizio, & Cavallo, Luigi (1985), De Chirico. Disegni inediti (1929), Edizioni grafiche Tega, Milano
  • Gimferrer, Pere (1988), De Chirico, 1888–1978, opere scelte, Rizzoli, Milano
  • de Chirico, gli anni Trenta, curated by Maurizio Fagiolo dell’Arco, exhibition catalogue, Galleria dello Scudo and Museo di Castelvecchio, Verona, 1998-1999; Mazzotta, Milan, 1998
  • Merjian, Ara H. (2014) Giorgio de Chirico and the Metaphysical City: Nietzsche, Modernism, Paris, New Haven (Yale University Press), 2014
  • Mori, Gioia (2007), De Chirico metafisico, Giunti, Firenze
  • Noel-Johnson Victoria, Giorgio de Chirico and the United Kingdom (c. 1916–1978), Maretti Editore, Falciano, 2017. ISBN 978-88-98855-37-7.
  • Noel-Johnson Victoria, Giorgio de Chirico: The Changing Face of Metaphysical Art, Skira, Milano, 2019. ISBN 8857240584
  • Noel-Johnson Victoria, De Chirico's Formation in Florence (1910–1911): The Discovery of the B.N.C.F Library Registers Archived 2019-08-07 at the Wayback Machine, (Metaphysical Art Journal, n. 11–13), Maretti Editore, Falciano, 2014.
  • Owen, Maurice (1983) "The Spirits Released: De Chirico and Metaphysical Perspective"
  • Owen, Maurice (1995) "Railway Stations and Minotaurs: gender in the paintings of Giorgio de Chirico and Pablo Picasso"
  • Pontiggia, Elena, & Gazzaneo, Giovanni (2012), Giorgio de Chirico. L’Apocalisse e la luce, Silvana Editoriale, Cinisellobalsamo
  • Soby, J. Th., Giorgio de Chirico, New York, 1955
  • Schmied, W., Giorgio de Chirico, Catalogue personale, Milano, 1970
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