Thursday, October 24, 2013


In the seventeenth century PALACE OF THE BURGUNDIANS where Giorgio de Chirico (1888/1978) lived and worked for 30 years from 1948 to his death
It was inaugurated on November 20, 1998, after the death of his wife, on the twentieth anniversary of the death of the great artist, one of the initiators and one of the leading exponents of the art form of metaphysical painting
"They say that Rome is the center of the world and the Spanish Steps is the center of Rome, my wife and I, then would dwell in the center of the center of the world, what would be the top in terms of centrality and in terms of antieccentricity"(Giorgio De Chirico)
Two floors of exhibition with about 60 oil paintings and various sculptures that make up a comprehensive overview of the various periods of the artist
His metaphysical work that has spanned over sixty years of production of the master is particularly well represented, but there are all the various periods of De Chirico: the famous horses, his portraits, the still lifes, up to the sculptures of the last period of his life
"Metaphysical Interior with the naked anatomy" 1968
"Sun on stand" 1973
"Two horses on the beach" 1964
"Self Portrait" 1953
"In his Baroque phase of the forties and fifties, De Chirico, while referring mainly to the paintings of the seventeenth century, retrieves various themes and passions of his earlier periods, particularly the "romantic" oneof the twenties, characterized by inspiration to Böcklin , Klinger and Courbet" (Website -
"Woman at rest" 1936
"Naiads at the bathroom" 1955
"Rest of the Gladiator" 1968
"A rich collection of various passages of metaphysical language by de Chirico, almost a summation of his work.(...) In the green and robust sky there is in transparency the shape of the castle of Urbino, as to evoke a distant memory. Protagonist is the troubadour-dummy, yet another variation of a type established in De Chirico's images in the 1910s and 1920s"(Website -
"Portrait of Isa with head of Minerva" 1944
"Bathers" 1945
"Fruit with a bust of Apollo" 1973
"Metaphysical Interior with biscuits" 1968
"Metaphysical Interior with the hand of David" 1968
"It is a significant choice to quote in the middle of painting the right hand of Michelangelo's David, which is the absolute protagonist of the composition. It corresponds to the interest that has always defined his artistic ideas, the one for the 'museum'. And in this sense it is easy to accept the reading that Calvesi makes of the two spirals that frame the hand of David, which 'seem removed from the lyre of Apollo or from a baroque scenery (...) almost to quote his self-citations'" (Site web -
"Self-portraits in costume constitute a major phase of expression of the artist called 'neo-baroque' at the end of 1939. The new development, which is mentioned in his Memoirs as the third of the shocking 'revelations' that marked his life as an artist, took place during a visit to the Louvre in front of a work by Velázquez, in the company of his second wife and muse, Isabella Far. Paintings of the seventeenth century have now become his new guides, electing especially Rubens as a reference point and concentrating in particular on the search for a similarly effortless and brilliant pictorial material" (Website -
"Remorse of Orestes" 1969
"Mysterious Baths" 1973
"The anniversary of the prince" 1973
"Metaphysical triangle" 1958
"Cry of Love (Hector and Andromache)" 1974
"Masks" 1973
Hand painted terracotta "The Archeologists" 1940
"In order to be a work of art, a painting must be very well painted and the good quality of the paint depends completely on the material substance of the paint with which it is executed. This matter, which constitutes the substance of painting, is composed of two elements which are equally important and absolutely inseparable: physical substance and metaphysical substance. These two elements complete each other reciprocally and when they are of a superior quality, create a masterpiece by way of their absolute harmony. It is through his talent that a painter feels and understands the quality of the body or the mass of the paint that he can use to make a work of art. (...) If one wants to make a comparison between the phenomenon of the material substance of paint and the phenomena of man, one could define the metaphysical side of material substance as corresponding to the individual’s soul or intellect, while the physical material substance would correspond to the body" (Giorgio De Chirico)

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