Category archives: Pittura metafisica de chirico

The year will mark the centenary of Pittura Metafisica, as a formally established school of art defined by Giorgio de Chirico and Carlo Carra. According to a review written by Paolo Picozza inthe painting contains all of the issues that could display themselves as relevant to the subject of metaphysical painting. Its title is simultaneously descriptive and intriguing, showing a capacity to reveal and to provoke at the same time, which could also be used to describe the visual notion and content of the painting.

The title asks the viewer to contemplate on what the enigma could be about. The brief analysis of the painting is generally applicable to the very concept of Pittura Metafisica. The idea behind it relies on a supposition, or rather a decision, that the physical world is not presenting reality as it is. The brothers believed that the events from the past are prone to reoccur, but that this circulation of being is masked by appearances.

Therefore, De Chirico aimed to dismantle reality through a literal change of perspective, the alternation of shadows and light, and a reinterpretation of mundane objects, which undoubtedly challenges the viewer to contemplate the piece and to search for the virtual which the actual stands for.

Metafisica – Quaderni della Fondazione Giorgio e Isa de Chirico

To achieve this, de Chirico used familiar subjects and popular artifacts such as the previously mentioned piazza in Florenceand placed them into unexpected contexts. Given that one of the main ideas was to attain the truth through a perception of the whole, the ability to observe all elements at once was entirely possible only through this particular genre.

The Metaphysical school was founded shortly after, inand it attracted artists such as Giorgio MorandiFilippo de Pisis and Mario Sironiwho centered around the two painters. According to our history, the short period between and is the one reserved for Metaphysical Art and its development, which, considering the grandiose undertone that lingers around it, comes as slightly disenchanting. On the other hand, both artists developed different aspirations in the s, which could be regarded either as a consequence or one of the reasons for the dissolution.

Carlo Carra soon started experimenting with different inputs and discovering a new phase of his career, which finally made him return to archaism, inspired by Giotto. Still, he is best known for his futurist works today, although most of them were made before the Metaphysical Art phase. De Chirico applied himself to neo-Baroque painting in the s, but his later works never achieved the same recognition as the early ones.

This could be the reason why he returned to re-interpreting his work in the final chapters of his oeuvre. The writer was compelled by the painting, and the group of surrealist who were his admirers embraced many aspects of metaphysical painting, giving them a new glare.

I falsi artisti (Rothko, Fontana, Klein, Manzoni e altri)

In a way, Pittura Metafisica was extended through the works of surrealists. The introduction of a different outlook on the world was apparently a trending topic in the first decades of the 20th century, and you can find similar ideas in Cubism, Futurism, Dada and abstract art in general.

The war and its aftermath served as a fertile ground for these ideas to emerge. That which is not there — perhaps because it was a time when you had too much to lose. All images used for illustrative purposes only.


We know that Giorgio Morandi Follow. Carlo Carra Follow.Mystery and Melancholy of a Street Private Collection. By Giorgio de Chirico. For a quick guide to specific styles, see: Art Movements.

What is Metaphysical Painting? In modern artthe phrase Metaphysical Painting in Italian Pittura Metafisica describes a style of painting developed during the era of World war I by two modern artistsnamely Giorgio de Chirico and Carlo Carralater joined by the still-life expert Giorgio Morandi The name Pittura Metafisica was first adopted by de Chirico and Carra inwhile convalescing at a military hospital in Italy. The main characteristics of Metaphysical Painting include the use of images designed to convey a sense of mystery.

Such enigmatic, dreamlike imagery is typically marked by unreal lighting, impossible linear perspective and strange symbolist iconography. However, most metaphysical compositions retain a noticeable structure, with an almost architectural sense of stillness, derived from Renaissance art traditions of the early 16th century.

The style also borrowed heavily from the European Symbolism movement. In turn, it had a significant impact on Surrealismin particular on the quiet classical work of Salvador Dali and Rene Magritte The term "metaphysical" comes from the Greek for "beyond real things".

De Chirico was born in Greece, and often drew inspiration from classical culture.

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In contrast to the noise and movement evident in say FuturismDe Chirico's paintings are quiet and still. Their distinctive characteristics include: a variety of architectural features with classical trimmings, distorted linear perspectiveand strange dream-like imagery; the juxtaposition of incongruous objects, such as gloves, portraits, busts, bananas, trains; and, above all, a disquieting air of mystery.

pittura metafisica de chirico

Human presence - and absence - which is suggested by classical statues or featureless mannequins, is no less unsettling. The Metaphysical painters believed in art as prophecy and in the artist as the poet-seer who, in clear-sighted moments, could remove the mask of appearances to reveal the "true reality" that lay behind. Their strategy was to transcend the physical appearance of reality, to unnerve or surprise the viewer with indecipherable or enigmatic images.

Although they were not interested in naturalistic representation, nor in recreating any specific time or place, they were fascinated by the eeriness of everyday life, and - like Surrealist artistsby whom De Chirico was later canonized - aimed to create an atmosphere that captured the extraordinary of the ordinary. As De Chirico wrote in "Although the dream is a very strange phenomenon and an inexplicable mystery, far more inexplicable is the mystery our minds confer on certain objects and aspects of life.

Many of his paintings show a desolate city square or claustrophobic interior painted in sombre colours with theatrical lighting and ominous shadows. Some may have been based on scenes in Turin and Ferrara, where De Chirico lived. Describing his own work, he spoke of the loneliness created when "still lifes come alive or figures become still".

On the other hand, Carra's pictures generally show a lyrical approach to the same type of iconographical images, with more light, brighter colours and occasional humour. While his oil painting can be disconcerting, it is seldom sinister. See also The Drunken Gentlemanone of Carra's most imaginative Renaissance-inspired still lifes. History of the Metaphysical School Scuola Metafisica.

Giorgio de Chirico e la pittura metafisica

Carra and De Chirico met in at the military hospital in Ferrara, where both were recovering from nervous breakdowns; they soon began working closely together. Carra joined De Chirico, his brother, Alberto Savinioa writer and composer, and Filippo de Pisisa poet and later a painter to form the Scuola Metafisica Metaphysical School.

Many of their ideas were informed by the brothers' interest in the German philosophers Arthur Schopenhauer Friedrich Nietzsche and Otto Weiningerwhose work they had read while living in Munich from to Schopenhauer's idea of intuitive knowledge, Nietzsche's theory of the enigma, and Weininger's notion of geometric metaphysics all supported and fed into the artists' own ideas.

Metaphysical Painting also owes a noticeable debt to the European Symbolism movement, which is not only visible in its symbolist motifs, but also in its "quietness" - compare, for instance, the stillness in symbolist paintings like Bocklin's Isle of the DeadKunstmuseum, Basel and Hodler's The NightKunstmuseum, Bern.

Another important influence and source of support was Guillaume Apollinairethe French poet and art critic, who was the first to call De Chirico's painting 'metaphysical' in They met regularly between and while De Chirico was living in Paris.

This was the period when Apollinaire was involved with Orphismand certain Orphic themes the redemptive qualities of art, the idea of art as a mystical or esoteric activity can be felt in the work of the Metaphysical School.

The School only lasted until aroundwhen a bitter argument between De Chirico and Carra as to who had initiated the movement split the group. By that time the style of the Pittura Metafisica had been spread by the publication Valori plastici Plastic Values,which also sponsored travelling shows. Inthe exhibition entitled 'Young Italy' was dominated by the metaphysical paintings of Carra, De Chirico, and Giorgio Morandi who had adapted aspects of the styles.

pittura metafisica de chirico

Although the Scuola Metafisica proved to be one of the more short-lived of modern art movementsit was highly influential throughout the s.

In Italy, the 20th century painters who found inspiration in it included members of the Novecento Italianosuch as Felice Casorati and Mario Sironi; in Germany it made a significant impact on artists such as George Grosz see Die Neue SachlichkeitOskar Schlemmer see Bauhausand Max Ernstwho like most Surrealists, hailed De Chirico as the most important precursor of Surrealism.Nel primo quadro la statua della Melanconia campeggia in uno spazio vuoto, chiuso da edifici porticati in prospettiva incoerente e investito da una luce diagonale che proietta grandi ombre sul terreno una delle quali in primo piano apparentemente inspiegabile.

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pittura metafisica de chirico

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Il significato attribuito alla parola, che ricorre nei titoli di numerose opere soprattutto di De Chirico, mai formulato con chiarezza. Vuoi ricevere Mam-e direttamente nella tua casella di posta? Iscriviti alla Newsletter, ti manderemo due mail al mese con il meglio del nostro Magazine e riceverai subito un regalo! Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website.

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These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may affect your browsing experience. Necessario Necessario. Non necessario Non necessario.The artists thus created a visionary world of the mind, beyond physical reality — hence the name.

The brief analysis of the painting is generally applicable to the very concept of Pittura Metafisica. In subsequent works he developed a disquieting imagery of deserted squares, often bordered by steeply receding arcades shown in a raking light. The effect was to produce a sense of dislocation in time and space.

Strictly speaking the movement only lasted the six months or so of that De Chirico and Carra worked together, De Chirico changing his style the following year. Taking inspiration from the era of surrealism, the set reflects the notion of a theatrical backdrop where mirrors, ladders and curtains create an artificial illusion of hanging and flying objects — the products. Lighting, geometrical forms and dark tones are used to make the products the unspoken yet undisputed protagonists.

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La pittura metafisica di Giorgio de Chirico a Pisa

Leave a Reply Cancel reply You must be logged in to post a comment. Previous Previous post: Paolo Uccello Next Next post: J. Turner Sorry, AdBlocker! The user using an Ad Block software cannot see the latest contents.Il pittore italiano Giorgio de Chirico Volo, Grecia, — Roma,fratello del pittore, letterato e compositore Andrea conosciuto con lo pseudonimo di Alberto Savinionacque in Grecia da genitori italiani, diplomatici di estrazione nobiliare.

Il padre Evaristo, ingegnere ferroviario, era infatti figlio del barone siciliano Giorgio Filigone de Chirico, la madre era la baronessa Gemma Cervetto, di origine genovese. Non solo opere di Giorgio de Chirico comunque, sono in mostra grazie a dei prestiti anche alcune opere di quegli artisti sui quali il pittore di origine greca ha esercitato un forte ascendente. Maggiori informazioni qui. Salta al contenuto Home About Collaborazioni Contatti. Giorgio de Chirico, la biografia Il pittore italiano Giorgio de Chirico Volo, Grecia, — Roma,fratello del pittore, letterato e compositore Andrea conosciuto con lo pseudonimo di Alberto Savinionacque in Grecia da genitori italiani, diplomatici di estrazione nobiliare.

Tag: Giorgio de ChiricoToscana. Lascia un commento Annulla risposta Comment. Enter your name or username to comment. Enter your email address to comment. Enter your website URL optional. Utilizziamo i cookie per garantirti una migliore esperienza sul nostro sito.The movement began in with de Chirico, whose dreamlike works with sharp contrasts of light and shadow often had a vaguely threatening, mysterious quality, "painting that which cannot be seen". Tiny figures in the distance cast long shadows, or in place of figures there are featureless dressmakers' mannequins.

The effect was to produce a sense of dislocation in time and space. InGuillaume Apollinaire made the first use of the term "metaphysical" to describe de Chirico's paintings. Other painters who adopted the style included Giorgio Morandi around —, [7] Filippo de Pisisand Mario Sironi. Between the two World Wars in Italy there were numerous architectural vulgarisations of the metaphysical poetics of the "Piazze d'Italia", whose timeless atmosphere seemed to be congenial to the propaganda needs of the time.

Squares of metaphysical flavor were built in the historical centers, as in Brescia or Varese, or in newly founded cities, such as those of the Agro Pontino SabaudiaApriliato culminate in the spectacular unfinished E42 in Rome.

From Wikipedia, the free encyclopedia. Redirected from Metaphysical art. International Herald Tribune. Also available from the personal website of the author. London: Tate Gallery. Giorgio de Chirico. Cologne: Taschen, p. Atlas of world art. Laurence King Publishing, Grove Art Online.

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Oxford Art Online. Oxford University Press. New York: Rizzoli. Metaphysical art. Giorgio de Chirico House Museum. Alberto Savinio brother.

Anna Akhmatova Richard Aldington W. Robert Desnos T. Western art movements.

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