LaurieAnnie's photos with the keyword: DeChirico

Title: Le rêve de Tobie (The Dream of Tobias) Artist: Giorgio de Chirico (Italian (born Greece), Vólos 1888–1978 Rome) Date: 1917 Geography: Country of Origin Italy Medium: Oil on canvas Dimensions: 23 1/4 × 19 1/4 in. (59 × 48.9 cm) Classification: Paintings Credit Line: The Bluff Collection Rights and Reproduction: © 2022 Artists Rights Society (ARS), New York / SIAE, Rome. Photo by John Wilson White Text from: www.metmuseum.org/art/collection/search/838421

Ariadne, 1913 Giorgio de Chirico (Italian, born Greece, 1888–1978) Oil and graphite on canvas; 53 3/8 x 71 in. (135.6 x 180.3 cm) Bequest of Florene M. Schoenborn, 1995 (1996.403.10) Born in Greece to Italian parents, Giorgio de Chirico received his first drawing lessons at the Polytechnic Institute in Athens in 1900. In 1906, the family moved to Munich, where he attended the Academy of Fine Arts, becoming acquainted with the magic realism of Swiss-German painter Arnold Böcklin and the writings of Friedrich Nietzsche, who encouraged the artist to "refute reality." At various important junctures in his career, de Chirico lived in Paris (1911–15, 1925–32), as well as the United States (1936–38), but he spent most of his life in Italy. In Ferrara in 1917, he met the artist Carlo Carrà, with whom he articulated a "metaphysical" style of painting in which an illogical reality seemed credible. Although the Metaphysical School was short-lived, its ramifications were felt in subsequent art movements, such as Dada and Surrealism. This composition presents one of the artist's famous deserted public squares. Somber monolithic arches on the right cast heavy geometric shadows, while on the left is a statue of the sleeping Ariadne. The statue, a Roman copy of a lost Hellenistic sculpture of Ariadne asleep on the island of Naxos after being abandoned by Theseus, had great symbolic meaning for de Chirico, perhaps because it evoked the classical past of his native Greece. In a series of five paintings, all from 1913, Ariadne is depicted from various angles, horizontally, vertically, and in partial close-up. Such early paintings, with their magical dreamlike qualities, were greatly admired by the Surrealists. Text from: www.metmuseum.org/toah/ho/11/eust/ho_1996.403.10.htm

Ariadne, 1913 Giorgio de Chirico (Italian, born Greece, 1888–1978) Oil and graphite on canvas; 53 3/8 x 71 in. (135.6 x 180.3 cm) Bequest of Florene M. Schoenborn, 1995 (1996.403.10) Born in Greece to Italian parents, Giorgio de Chirico received his first drawing lessons at the Polytechnic Institute in Athens in 1900. In 1906, the family moved to Munich, where he attended the Academy of Fine Arts, becoming acquainted with the magic realism of Swiss-German painter Arnold Böcklin and the writings of Friedrich Nietzsche, who encouraged the artist to "refute reality." At various important junctures in his career, de Chirico lived in Paris (1911–15, 1925–32), as well as the United States (1936–38), but he spent most of his life in Italy. In Ferrara in 1917, he met the artist Carlo Carrà, with whom he articulated a "metaphysical" style of painting in which an illogical reality seemed credible. Although the Metaphysical School was short-lived, its ramifications were felt in subsequent art movements, such as Dada and Surrealism. This composition presents one of the artist's famous deserted public squares. Somber monolithic arches on the right cast heavy geometric shadows, while on the left is a statue of the sleeping Ariadne. The statue, a Roman copy of a lost Hellenistic sculpture of Ariadne asleep on the island of Naxos after being abandoned by Theseus, had great symbolic meaning for de Chirico, perhaps because it evoked the classical past of his native Greece. In a series of five paintings, all from 1913, Ariadne is depicted from various angles, horizontally, vertically, and in partial close-up. Such early paintings, with their magical dreamlike qualities, were greatly admired by the Surrealists. Text from: www.metmuseum.org/toah/ho/11/eust/ho_1996.403.10.htm

Ariadne, 1913 Giorgio de Chirico (Italian, born Greece, 1888–1978) Oil and graphite on canvas; 53 3/8 x 71 in. (135.6 x 180.3 cm) Bequest of Florene M. Schoenborn, 1995 (1996.403.10) Born in Greece to Italian parents, Giorgio de Chirico received his first drawing lessons at the Polytechnic Institute in Athens in 1900. In 1906, the family moved to Munich, where he attended the Academy of Fine Arts, becoming acquainted with the magic realism of Swiss-German painter Arnold Böcklin and the writings of Friedrich Nietzsche, who encouraged the artist to "refute reality." At various important junctures in his career, de Chirico lived in Paris (1911–15, 1925–32), as well as the United States (1936–38), but he spent most of his life in Italy. In Ferrara in 1917, he met the artist Carlo Carrà, with whom he articulated a "metaphysical" style of painting in which an illogical reality seemed credible. Although the Metaphysical School was short-lived, its ramifications were felt in subsequent art movements, such as Dada and Surrealism. This composition presents one of the artist's famous deserted public squares. Somber monolithic arches on the right cast heavy geometric shadows, while on the left is a statue of the sleeping Ariadne. The statue, a Roman copy of a lost Hellenistic sculpture of Ariadne asleep on the island of Naxos after being abandoned by Theseus, had great symbolic meaning for de Chirico, perhaps because it evoked the classical past of his native Greece. In a series of five paintings, all from 1913, Ariadne is depicted from various angles, horizontally, vertically, and in partial close-up. Such early paintings, with their magical dreamlike qualities, were greatly admired by the Surrealists. Text from: www.metmuseum.org/toah/ho/11/eust/ho_1996.403.10.htm

Giorgio de Chirico. Italian, born Greece, 1888-1978 Self portrait 1911 Oil on canvas Accession # 1970.166 Text from the Metropolitan Museum of Art label.

Giorgio de Chirico. (Italian, born Greece. 1888-1978). Gare Montparnasse (The Melancholy of Departure). Paris, early 1914. Oil on canvas, 55 1/8" x 6' 5/8" (140 x 184.5 cm). Gift of James Thrall Soby. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Giorgio de Chirico. (Italian, born Greece. 1888-1978). The Song of Love. Paris, June-July 1914. Oil on canvas, 28 3/4 x 23 3/8" (73 x 59.1 cm). Nelson A. Rockefeller Bequest. Gallery label text 2006 This painting brings together incongruous and unrelated objects: the head of a Classical Greek statue, an oversized rubber glove, a green ball, and a train shrouded in darkness, silhouetted against a bright blue sky. By subverting the logical presence of objects, de Chirico created what he termed "metaphysical" paintings, representations of what lies "beyond the physical" world. Cloaked in an atmosphere of anxiety and melancholy, de Chirico's humanoid forms, vacuous architecture, shadowy passages, and eerily elongated streets evoke the profound absurdity of a universe torn apart by World War I. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999 "M. Giorgio de Chirico has just bought a red rubber glove"—so wrote the French poet Guillaume Apollinaire in July of 1914, noting the purchase because, he went on to say, he knew the glove's appearance in de Chirico's paintings would add to their uncanny power. Implying human presence, as a mold of the hand, yet also inhuman, a clammily limp fragment distinctly unfleshlike in color, the glove in The Song of Love has an unsettling authority. Why, too, is this surgical garment pinned to a board or canvas, alongside a plaster head copied from a classical statue, relic of a noble vanished age? What is the meaning of the green ball? And what is the whole ensemble doing in the outdoor setting insinuated by the building and the passing train? Unlikely meetings among dissimilar objects were to become a strong theme in modern art (they soon became an explicit goal of the Surrealists), but de Chirico sought more than surprise: in works like this one, for which Apollinaire used the term "metaphysical," he wanted to evoke an enduring level of reality hidden beyond outward appearances. Perhaps this is why he gives us a geometric form (the spherical ball), a schematic building rather than a specific one, and inert and partial images of the human body rather than a living, mortal being. Text from: www.moma.org/collection/browse_results.php?object_id=80419

Giorgio de Chirico. (Italian, born Greece. 1888-1978). The Song of Love. Paris, June-July 1914. Oil on canvas, 28 3/4 x 23 3/8" (73 x 59.1 cm). Nelson A. Rockefeller Bequest. Gallery label text 2006 This painting brings together incongruous and unrelated objects: the head of a Classical Greek statue, an oversized rubber glove, a green ball, and a train shrouded in darkness, silhouetted against a bright blue sky. By subverting the logical presence of objects, de Chirico created what he termed "metaphysical" paintings, representations of what lies "beyond the physical" world. Cloaked in an atmosphere of anxiety and melancholy, de Chirico's humanoid forms, vacuous architecture, shadowy passages, and eerily elongated streets evoke the profound absurdity of a universe torn apart by World War I. Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999 "M. Giorgio de Chirico has just bought a red rubber glove"—so wrote the French poet Guillaume Apollinaire in July of 1914, noting the purchase because, he went on to say, he knew the glove's appearance in de Chirico's paintings would add to their uncanny power. Implying human presence, as a mold of the hand, yet also inhuman, a clammily limp fragment distinctly unfleshlike in color, the glove in The Song of Love has an unsettling authority. Why, too, is this surgical garment pinned to a board or canvas, alongside a plaster head copied from a classical statue, relic of a noble vanished age? What is the meaning of the green ball? And what is the whole ensemble doing in the outdoor setting insinuated by the building and the passing train? Unlikely meetings among dissimilar objects were to become a strong theme in modern art (they soon became an explicit goal of the Surrealists), but de Chirico sought more than surprise: in works like this one, for which Apollinaire used the term "metaphysical," he wanted to evoke an enduring level of reality hidden beyond outward appearances. Perhaps this is why he gives us a geometric form (the spherical ball), a schematic building rather than a specific one, and inert and partial images of the human body rather than a living, mortal being. Text from: www.moma.org/collection/browse_results.php?object_id=80419

Giorgio de Chirico. (Italian, born Greece. 1888-1978). The Serenity of the Scholar. Paris, April-May 1914. Oil and charcoal on canvas, 51 1/4 x 28 1/2" (130.1 x 72.4 cm). Gift of Sylvia Slifka in honor of Joseph Slifka. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Giorgio de Chirico. (Italian, born Greece. 1888-1978). Great Metaphysical Interior. Ferrara, April-August 1917. Oil on canvas, 37 3/4 x 27 3/4" (95.9 x 70.5 cm). Gift of James Thrall Soby. Text from: www.moma.org/collection/browse_results.php?object_id=80539

Giorgio de Chirico. (Italian, born Greece. 1888-1978). Great Metaphysical Interior. Ferrara, April-August 1917. Oil on canvas, 37 3/4 x 27 3/4" (95.9 x 70.5 cm). Gift of James Thrall Soby. Text from: www.moma.org/collection/browse_results.php?object_id=80539

Giorgio de Chirico. (Italian, born Greece. 1888-1978). Great Metaphysical Interior. Ferrara, April-August 1917. Oil on canvas, 37 3/4 x 27 3/4" (95.9 x 70.5 cm). Gift of James Thrall Soby. Text from: www.moma.org/collection/browse_results.php?object_id=80539

Giorgio de Chirico. (Italian, born Greece. 1888-1978). Playthings of the Prince. fall 1915. Oil on canvas, 21 7/8 x 10 1/4" (55.4 x 25.9 cm). Gift of Pierre Matisse in memory of Patricia Kane Matisse. Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...