Giorgio de Chirico
|
|
|
|
|
|
|
|
Giorgio de Chirico |
|
||
|
|
|
|
||
|
|
|
|
|
|
|
|||||
|
|
||||
|
|||||
|
||||||||||||||||||
|
|
|
|
|
||||||||||||||
|
||||||||||||||||||
|
|
|
|
|
|
|
|
|
|
|
||||||||
|
|
|
|
|
|
|
|
|
|
|
||||||||
|
|
Giorgio de Chirico Life: 1888-1978 (1) Country: Italian, raised in Style(s): Metaphysical School (1) Works: Portrait prémonitoire de Guillaume Apollinaire (1914) Metaphysical Interior with Large Factory (1916) The Disquieting Muses (1918) Self Portrait (1922) Quote: Et quid amabo nisi quod aenigma est? ("What shall I love if not the enigma?")
– the question inscribed by the young artist on his self-portrait in 1911 (2) Fun Fact: He took to signing his work "Pictor Optimus" ("the best
painter") as he unsuccessfully switched from the metaphysical school to classicism in the 1930s. This “switch” led him to renounce all of his earlier works
(2, 4)
|
|
|
|
|
|
You are very excited, sure that this Chirico person will know where Chucky is and eager to be able to hold Chucky again. You
can’t wait to bring him home and give him an acorn and maybe even share some of your dinner with him. However, as soon
as Chirico opens the door, you are unsure if this was the right thing to do. The man is obviously off his rocker. You tell
him that you are there about Chucky but he doesn’t seem to care; he is too full of himself. He just starts talking about
his work and about how terrible the Metaphysical School of Art is and blah, blah, blah. You are very confused. You had thought
that he was a metaphysical painter—then you remember that he switched to Classicism and renounced all of his earlier
works (2 & 4). Chirico rants about the terrors of the Metaphysical
School and denounces the sharp contrasts of light and shadow and exaggerated perspective
which
evoke a haunting, ominous dream world (1). He is cynical of
the eloquent expression of the unconscious and nonsensical to which the surrealists aspired (4). You begin to wonder if this
man will ever help you. He seems too intent on telling you about how he, from 1924 to 1930, had given great momentum to the
surrealist movement by influencing Yves Tanguy and Salvador Dali among others (2 & 3).
Then, Chirico starts talking
about how he moved to Germany in 1906 and entered the Academy of Fine Arts in Munich,
where he read the writings of the philosophers Nietzsche and Arthur Schopenhauer and studied the works of Arnold Böcklin and
Max Klinger (5). At this point you are overly frustrated with the man and think that it might be best if you run off and find
Max Klinger to try and get some help from there. However, you don’t want to miss any clues this man could
give you, so you decide to hold out and hope you learn something helpful. But, it’s not to be. All he talks about is
when he moved to |
|
|
||||||||
|
|
|
|
|
|
|
|
|
|
|
||||||||
|
|
|
|
|
|
|
|
|
|
|
||||||||
|
||||||||||||||||||
|
|
|
|
|||||||||||||||
|
||||||||||||||||||
|
|
||||||||||||||||||
|
||||||||||||||||||
