Giorgio de Chirico

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Giuseppe Maria Alberto Giorgio di Chirico (KIRR-ik-oh, Italian): [dord-o dek] – born in Greece on July 10, 1888 – 20 November 1978) was an Italian artist and writer born in Greece. He founded the scuola metafisica art movement, which directly inspired the surrealists in the years leading up to World War I. Roman arcades, long shadows, mannequins, trains, and a logical viewpoint are all common in his most famous works. Arthur Schopenhauer's theory and Friedrich Nietzsche's mythology, as well as the mythology of his birthplace.

He became a modern art critic, analyzed traditional painting methods, and produced in a neoclassical or neo-Baroque style, while often revisiting the metaphysical themes of his earlier work.

Life and works

Giuseppe Maria Alberto Giorgio de Chirico was born in Volos, Greece, as the eldest son of Gemma Cervetto and Evaristo de Chirico. His mother, a baroness of Genoese origins (likely born in Smyrna) and his father, a Sicilian barone from a Greek family of Greek origins (the Kyriko or Chirico family moved from Rhodes to Palermo in 1523, along with 4000 other Greek Catholic families), was a baroness of Greek origins (likely born in Smyrna) (Rodo), Because his father, an engineer, was in charge of the construction of a railroad, De Chirico's family was in Greece at the time of his birth. Andrea Francesco Alberto Alberto, his younger brother, became a well-known writer, painter, and composer under the pseudonym Alberto Savinio.

De Chirico began drawing and painting at Athens Polytechnic, mainly under the Greek painters Georgios Roilos and Georgios Jakobides' tutelage. After Evaristo de Chirico's death in 1905, the family migrated to Germany in 1906 after first visiting Florence. De Chirico completed his studies at the Academy of Fine Arts in Munich, where he worked under Gabriel von Hackl and Carl von Marr and read Friedrich Nietzsche's writings. He also looked at Arnold Böcklin and Max Klinger's works. Böcklin's influence is shown by the style of his oldest paintings, such as The Dying Centaur (1909).

In 1909, De Chirico returned to Milan for six months. He was painting in a simpler style of flat, anonymous surfaces by 1910. He took his first of his 'Metaphysical Town Square' series, The Enigma of a Fall Afternoon's announcement in Piazza Santa Croce, he moved to Florence where he painted the first of his 'Metaphysical Town Square' series, The Enigma of an Autumn Afternoon. While in Florence, he also painted The Enigma of the Oracle. On his way to Paris in July 1911, he spent a few days in Turin. The architecture of Turin's archways and piazzas was particularly moved by De Chirico's'metaphysical aspect'.

Chirico's paintings, which were produced between 1909 and 1919, were characterized by haunted, brooding moods evoked by their images. His subjects were initially inspired by Mediterranean cities' brilliant daylight, but he gradually turned to the study of cluttered storerooms, often populated by mannequin-like hybrid figures.

De Chirico's Metaphysical art was strongly inspired by his reading of Nietzsche, whose writing style captivated Chirico with its claims of unseen auries under the surface of things. De Chirico found inspiration in the unexpected sensations that familiar places or things that can be translated into painting: "In a 1909 manuscript, he wrote of the "host of strange, little, and solitary things that can be turned into painting." Metaphysical art combined everyday life with mythology, eliciting inexplicable feelings of nostalgia, eager anticipation, and longing. The image space was often depicted as illogical, contradictory, and with stifling viewpoints. Arcades were one of de Chirico's most popular styles, of which he wrote: "The Roman arcade is destiny, its voice speaks in riddles that are bursting with a peculiarly Roman poetry."

In July 1911, De Chirico and his brother Andrea arrived in Paris, where he joined his brother Andrea. Pierre Laprade, a member of the jury at the Salon d'Automne, where he exhibited three of his sculptures: Enigma of an Oracle, Enigma of an Afternoon, and Self-Portrait. He exhibited paintings at the Salon des Indépendants and Salon d'Automne in 1913; Picasso and Guillaume Apollinaire admired his work, and he sold his first work, The Red Tower, in 1913. His stay in Paris culminated in the creation of Chirico's Ariadne. He met art dealer Paul Guillaume in 1914, with whom he signed a deal for his artistic output.

He returned to Italy after the outbreak of World War I. Upon his arrival in May 1915, he enlisted in the army but was deemed unfit for work and transferred to the hospital at Ferrara. In indoor settings, the store windows of that town inspired a series of paintings that include biscuits, charts, and geometric shapes. He met with Carlo Carrera in Ferrara and together they founded the pittura metafisica movement. He continued to paint, and in 1918, he moved to Rome. His work was seen extensively in Europe beginning in 1918.

In November 1919, de Chirico published an article entitled "The Return of Craftsmanship," in which he advocated for a return to traditional techniques and iconography. This essay represented a dramatic change in his artistic direction as he embraced a classicizing style influenced by such old masters as Raphael and Signorelli and became part of the postwar revival to order in the arts. He has been a vocal critic of modern art.

André Breton, a Surrealist writer, discovered one of de Chirico's metaphysical paintings in the early 1920s and was enthralled. Several young artists who were similarly affected by de Chirico's images formed the backbone of the Paris Surrealist group, which was centered around Breton. Chirico visited Paris in 1924 and was accepted into the group, but the surrealists were skepticism of his post-metaphysical work.

In 1925, De Chirico met and married his first wife, the Russian ballerina Gurievich (1894-1979), who then moved to Paris. His friendship with the Surrealists grew more volatile as they openly mocked his latest work; by 1926, he had begun to see them as "cretinous and hostile." They all failed in acrimony shortly after. He held his first exhibition in New York City and then in London. He wrote essays on art and other subjects, and Hebdomeros, the Metaphysician, was published in 1929. Sergei Diaghilev's stage designs for him were also produced in 1929.

De Chirico's second wife, Isabella Pakszwer Far (1909–1990), a Russian with whom he would remain for the rest of his life, died in 1930. They moved from Italy in 1932 and then to the United States in 1936, before settling in Rome in 1944. He bought a house on the Spanish Steps in 1948; now the Giorgio de Chirico House Museum, a museum dedicated to his work.

He adopted a neo-Baroque style influenced by Rubens in 1939. De Chirico's later works never received the same critical acclaim as those from his metaphysical period. He resented this because he felt that his later work was more efficient and more mature. He also produced backdated "self-forgeries" that profited from his earlier success and as an act of revenge for his early work's defining style. He also condemned several paintings attributed to him in public and private collections as forgeries. In 1945, he published his memoirs.

Even as he approached his 90th year, he was still very prolific. Massimiliano Fuksas worked in his atelier during the 1960s. In 1974, Chirico was elected to the French Académie des Beaux-Arts. He died in Rome on November 20, 1978. In 1992, his remains were moved to San Francesco a Ripa's Roman cathedral.

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