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Giorgio de Chirico Metaphysical painting

There are more enigmas in the shadow of a man walking in the sun than in all the religions of the past, present and future.
Giorgio de Chirico, 1912

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Giorgio de Chirico Metaphysical painting

  1. 1. There are more enigmas in the shadow of a man walking in the sun than in all the religions of the past, present and future. Giorgio de Chirico, 1912
  2. 2. enigma, dream ... atmosphere of melancholy and uneasy menace deserted Italian piazza with spectral figures and shadows a girl with a hoop drifts toward a statuesque figure lingering in the shadows, chasing the sun Ariadne, abandoned by Theseus, in a melancholy pose, while a steaming locomotive moves away in the distance a mannequin in front of an easel
  3. 3. Giorgio de Chirico Metaphysical painting
  4. 4. the universe of Chirico's childhood in Vólos, Thessaly, the starting point for the voyage of the Argonauts, and home of the sagas of Centaurs, a natural world inhabited by nymphs and giants … the rocky mountain in full majesty and Prometheus Giorgio de Chirico Prometheus Prométhée autumn,automne 1908 Collezione Paolo Volponi
  5. 5. the countryside seems to evoke the Greek region of Arcadia, with its vines, cypress trees and ancient-style columns. the fountain is decorated with a low relief, which could represent the two faces of the Roman god Janus, one looking to the past and the other toward the future Giorgio de Chirico Serenata Sérénade 1909 Staatliche Museen zu Berlin, Nationalgalerie
  6. 6. an mythological theme of the centaur, using unusual brushwork ... Giorgio de Chirico Centauro morente Dying Centaur Centaure mourant spring, printemps 1909 Collezione di Generali Italia, Roma
  7. 7. the first metaphysical works date from around 1910 … ancient buildings, contrasts of light and shade, the symbolic figures that could suggest vague emotions and sensations such as solitude, nostalgia and desire a Italian Piazza, nearly empty a single statue and a couple, a sailboat floats in the distant background, an afternoon's golden light ... de Chirico creates a place that has never existed, imagined to create a sense of haunted isolation, the sense of a mystery Giorgio de Chirico The Enigma of an Autumn Afternoon L’énigme d’un après-midi d’automne 1910 Private collection
  8. 8. paintings inspired by Turin ... an ideal scene, city of arcades as the decor for his statues of the sleeping Ariadne, his male effigies and trains, metaphors of the Nietzschean feminine/masculine Dionysian/Apollonian dialectic the painting draws inspiration from the Mole Antonelliana, a landmark tower in the city of Turin a large tower two small shadowy figures resembling those in future works by Salvador Dalí Giorgio de Chirico The Nostalgia of the Infinite La nostalgie de l’infini Paris, 1912 Museum of Modern Art, New York City
  9. 9. the passing train, the perishable bananas ... the contemporary and immediate in contrast the classical arcades, statuary of antiquity - a torso of Aphrodite Giorgio de Chirico The Uncertainty of the Poet L’incertitude du poète Paris, 1913 Tate Modern, London
  10. 10. colonnades that lead nowhere and a locomotive, ominous or threatening, akin to a caged beast Giorgio de Chirico The Anxious Journey L’angoissant voyage Paris, Spring-Summer, Printemps-Été 1913 Museum of Modern Art, New York City
  11. 11. a desolate public square... a statue of a slumbering Ariadne according to the Greek myth, Theseus abandoned his lover Ariadne on the island of Naxos while she slept Ariadne acquired great personal symbolic meaning for de Chirico after he moved to Paris in 1911 and entered a period of isolation and loneliness Giorgio de Chirico Ariadne Ariane 1913 Metropolitan Museum of Art, New York
  12. 12. a lone statue in a deserted Italian piazza ... the antique statue represents the sleeping Ariadne, who according to Greek mythology was abandoned by her lover on the desert island of Naxos. the confrontation of the classical world with a modern steam engine in the distance creates an uneasy ambiguity of time and space Giorgio de Chirico The Soothsayer’s Recompense La Récompense du devin June-July, Juin-Juillet 1913 Philadelphia Museum of Art, Philadelphia
  13. 13. a partly concealed equestrian monument and a crenellated tower (the tower recalls the reflections of Nietzsche on the complementarity of masculine and feminine) Giorgio de Chirico The Red Tower, also known as The Pink Tower La Tour rouge, dite aussi La Tour rose First half of, Première moitié de 1913 Peggy Guggenheim Collection, Venice (Solomon R. Guggenheim Foundation, New York)
  14. 14. a claustrophobic and enigmatic space ... a plaster bust with dark glasses, a mannequin, and a fish mold on an obelisk are compressed into a narrow vertical format the poetry – represented by the plaster bust wearing black sunglasses – as the art of clairvoyants: blind to the present day, poets like Apollinaire are capable of perceiving the past and the future with clarity Giorgio de Chirico The Nostalgia of the Poet La nostalgie du poète Summer-Autumn, Été-Automne 1914 Peggy Guggenheim Collection, Venice
  15. 15. a classical arcade, oddly oversize artichokes, a cannon and cannonballs, a clock, an industrial brick chimney, a monumental tower, a running train, a square-rigged sailing ship and an Italian piazza, virtually deserted except for the menacing shadowy figures outside the edge of the scene ... Giorgio de Chirico The Philosopher’s Conquest La Conquête du philosophe Paris, January, Janvier 1914 Art Institute of Chicago, Chicago
  16. 16. a menacing masterpiece of the 20th century, a dream of death that happened to come true a man of stone, a marble bust wearing blind man's glasses; he looks right at us, however: his blindness is that of the seer, the poet the poet sees or engenders visions of impossible conjunctions: the moulds of a fish and a shell on Renaissance architecture, and the silhouette of a man on whose head a white circle has been drawn the silhouette is that of Apollinaire … Giorgio de Chirico Premonitory Portrait of Guillaume Apollinaire Portrait [prémonitoire] de Guillaume Apollinaire Paris, 1914 Georges Pompidou Center, Paris
  17. 17. a prophetic vision … in 1914, de Chirico painted Apollinaire in silhouette with what looks like a target drawn on his cranium. Apollinaire enlisted in the French army in the first world war and in 1917 was severely wounded - in the head. He underwent a brain operation in the difficult period before his death.
  18. 18. the arresting strangeness ... a nude young man with a mix of both masculine and feminine features (the feminine being especially prominent in the lack of body hair or defined musculature, the long eyelashes and the finely groomed eyebrows) a yellow book with a red bookmark (that has been interpreted as an allegorical representation of male/female intercourse) Giorgio de Chirico The Revenant, The Child’s Brain Le Revenant, Le Cerveau de l’enfant Italy, 1914 Nationalmuseum, Stockholm, Sweden
  19. 19. a scene that spurs a sense of confusion ... a bust of a classical sculpture, a rubber ball, a rubber glove and a train passing the bust could be a representation of De Chirico's love of classical art and a disappearing age the painter uses the rubber glove as a mold of a hand that implies the void of human presence the buildings set up a scene that is reminiscent of the cityscapes of De Chirico's past Giorgio de Chirico The Song of Love Le Chant d'amour Paris, June-July, Juin-Juillet 1914 Museum of Modern Art, New York
  20. 20. one most baffling metaphysical pictures an unsettling and impossible universe buildings in the style of Renaissance architecture a deserted public space ... two figures intrude into the late afternoon light: a girl with a hoop and the shadow of a statue and in the darkened foreground: a horse-box on wheels, whose open doors and dark interior add to the overall feeling of latent menace Giorgio de Chirico Melancholy and Mystery of a Street Mystère et mélancolie d’une rue 1914 Collection particulière
  21. 21. a masterpiece of the time the Seer figure, seated on a wooden chopping block, whose cubed shape symbolises the material world on his forehead he wears a headband with a star, recalling those worn by the priests of ancient initiation cults and the shadow cast on the ground seems to be that of a statue out of the field of vision, similar to the outline drawn on the blackboard Giorgio de Chirico The Seer Le Vaticinateur Paris, Winter, Hiver 1914-1915 Museum of Modern Art, New York
  22. 22. a mannequin in front of an easel: a male subject who, though faceless, is engaging with the world around him through his activity as a creator a single, cyclops-like eye, alludes to his special vision, namely, to his ability to see and depict enigmas
  23. 23. a statue of a man in a frock-coat staring contemplatively into an open sky a wooden beam, perhaps part of an easel large arches and a window open stick-like figures of two men meeting and the dummy's head looming over the landscape like a hot air balloon Giorgio de Chirico The Double Dream of Spring Le Double Rêve du printemps Paris, January-May, Janvier-Mai 1915 Museum of Modern Art, New York City
  24. 24. one of the most famous paintings both by De Chirico and of all metaphysical art ... the Disquieting Muses Thalia and Melpomene, the muse of comedy and tragedy as Apollo are lifeless, they seem to be part of the props of a dreamlike play, as absurd as reality Giorgio de Chirico The Disquieting Muses Les muses inquiétantes Rome, 1916 Private Collection
  25. 25. one of the earliest editions in a series of works that extended late into de Chirico's career a room cluttered with objects in a surreal arrangement a panel on which are mounted several biscuits arranged to resemble an abstract face an irregularly shaped frame, an architectural scene in the style of de Chirico's earlier work Giorgio de Chirico Metaphysical Interior with Biscuits Intérieur métaphysique avec des biscuits 1916 The Menil Collection, Houston
  26. 26. a lost and isolated figure wandering through the melancholy emptiness of an anonymous piazza ... Giorgio de Chirico Il trovatore The Troubadour Le Troubadour 1917 Private collection
  27. 27. one of Giorgio De Chirico's major works composition typical of the series of 'metaphysical interiors' begun in 1916, representing figures and symbolic objects within enclosed spaces. the enigmatic 'revenant' with its closed eyes and cruciform moustache and goatee and a decapitated and mutilated tailor's dummy leaning against a scaffolding of geometrical instruments represents 'the spirit of our age’ Giorgio De Chirico Il Ritornante Winter, Hiver 1917-1918 Centre Pompidou, Paris
  28. 28. a disturbing interpretation of Homer’s moving scene ... an otherworldly landscape a sense of isolation the Scaean Gate in an austere setting two figures located in a time and place that seems distant and beyond civilization, two faceless and armless mannequins, supported by crutches, and with the baby Astyanax which is reduced to a steel wedge with a black disk for its head Giorgio de Chirico Hector and Andromache Hector et Andromaque Paris, 1917 Private collection
  29. 29. painted by Chirico the day after the armistice ... a strange enigmatic painting of two fish, an early Christian symbol of salvation and rebirth Giorgio de Chirico Sacred Fish, I pesci sacri Les Poissons sacrés, I pesci sacri December 1918-January 1919, Décembre 1918-Janvier 1919 Etro Collection
  30. 30. The Sacred Fish ... for Chirico, it will take the form of a return to the classical tradition, to the great displeasure of the surrealists who will call him a "renegade". Art history too, has its trench wars !
  31. 31. olga_oes Giorgio de Chirico Metaphysical painting La peinture métaphysique images and text credit www. Music ThePianoGuys Lauren Daigle You Say Sonata Pathétique (PianoCello) created olga.e. thanks for watching
  32. 32. Giorgio de Chirico left behind a labyrinthine legacy. Through tumultuous adoration, persistent critique, and firm fluctuation, the painter emerges as one of the most enigmatic in modern history, sparking bewilderment even today. His appeal stems from his increasingly obscure allure, his ability to pull heartstrings through subtle strategies, some even subconscious.
  33. 33. Giorgio de Chirico Autoritratto Self Portrait Autoportrait Rome 1920 Neue Pinakothek, Munich

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