DOCSLIB.ORG

Metaphysical Painting" by Smarty

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Metaphysical Painting www.smartymagazine.com "Metaphysical painting" by smArty >>PARIS "The abolition of meaning in art was not invented by us painters. Let's be fair, this discovery came to the Polish Nietzsche, and if the Frenchman Rimbaud was the first to apply it in poetry, it was yours truly who applied it for the first time in painting. » (1919). This is how Giorgio de Chirico defined his metaphysical art, whose singularity and novelty struck Apollinaire immediately, as early as 1913. An Italian painter from an old family in Constantinople, perfectly cosmopolitan, Chirico was one of the great figures of the Paul Guillaume gallery, which represented him until the 1930s. And the well-known episode of André Breton discovering in the gallery window the painting Le Revenant (The Child's Brain), which crystallized his idea of a metaphysical painting, or the homage that Picasso painted in 1915 through his painting, The Man Sitting with the Bowler Hat, remind us of the importance of this artist for modern art. SEE THE PRIVATE VISIT Today, although his works do not appear in the collections of the Musée de l'Orangerie, it seemed important to return to the history of this meeting between the artist and Paris, between the painter and Apollinaire, and Paul Guillaume, during his first stay in Paris, between 1911 and 1915, when he conceived and painted the very heart of his metaphysical work. Born in Greece and trained in the melting pot of classical culture and late German Romanticism, Chirico developed the foundations of a new artistic conception alongside his younger brother Alberto Savinio. As a student at the Academy of Fine Arts in Munich, where he stayed from 1906, he discovered the thought of Nietzsche and Schopenhauer as well as the works of Böcklin and Klinger. After a period in Italy, where he laid the foundations of metaphysical art, it was however from France, in Paris in the autumn of 1911, that he fully developed this art and established a singular plastic vocabulary in contact with the modernist pictorial revolutions. On his return to Italy in 1915, he was sent with his brother Savinio to Ferrara for military reasons and continued his pictorial research there. The Ferrarese period (June 1915-December 1918) was an opportunity for the painters Carlo Carrà and Giorgio Morandi to frequent the two brothers and marked the spread of metaphysical art. The exhibition at the Orangery Museum thus retraces the journey and the artistic and philosophical influences that nourished the artist Giorgio de Chirico in Munich, in Paris and finally in Ferrara. In an unprecedented way, the painter's links with the cultural and literary circles of his time are highlighted through a demanding selection of some sixty works, paintings, sculptures and drawings by Chirico, which are linked to some works by artists such as Böcklin and Klinger, Archipenko, Magnelli, and the metaphysical paintings of Carrà and Morandi. A collection of documents - magazines, photographs and books - from the Archivio dell'Arte Metafisica collection complete the intellectual and cultural presentation of this period of Chirico's career. It is this approach, which has been narrowed down over a few years to a beautiful and enigmatic work, that has been chosen: the invention of a metaphysical art. Exhibition from 16 September to 14 December 2020 03 Nov 2020 #Surrealisme #smArty Choice #Peinture copyright: Giorgio de Chirico, Portrait de Guillaume Apollinaire, 1914 www.smartymagazine.com Contacts smArty Intern'l Ltd Ibex House Baker Street Weybridge KT13 8AH [email protected] www.smartymagazine.com.
Load more

Recommended publications
  • Redalyc.Giorgio Morandi and the “Return to Order”: from Pittura
    Anales del Instituto de Investigaciones Estéticas ISSN: 0185-1276 [email protected] Instituto de Investigaciones Estéticas México AGUIRRE, MARIANA Giorgio Morandi and the “Return to Order”: From Pittura Metafisica to Regionalism, 1917- 1928 Anales del Instituto de Investigaciones Estéticas, vol. XXXV, núm. 102, 2013, pp. 93-124 Instituto de Investigaciones Estéticas Distrito Federal, México Available in: http://www.redalyc.org/articulo.oa?id=36928274005 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative MARIANA AGUIRRE laboratorio sensorial, guadalajara Giorgio Morandi and the “Return to Order”: From Pittura Metafisica to Regionalism, 1917-1928 lthough the art of the Bolognese painter Giorgio Morandi has been showcased in several recent museum exhibitions, impor- tant portions of his trajectory have yet to be analyzed in depth.1 The factA that Morandi’s work has failed to elicit more responses from art historians is the result of the marginalization of modern Italian art from the history of mod- ernism given its reliance on tradition and closeness to Fascism. More impor- tantly, the artist himself favored a formalist interpretation since the late 1930s, which has all but precluded historical approaches to his work except for a few notable exceptions.2 The critic Cesare Brandi, who inaugurated the formalist discourse on Morandi, wrote in 1939 that “nothing is less abstract, less uproot- ed from the world, less indifferent to pain, less deaf to joy than this painting, which apparently retreats to the margins of life and interests itself, withdrawn, in dusty kitchen cupboards.”3 In order to further remove Morandi from the 1.
    [Show full text]
  • Gce History of Art Major Modern Art Movements
    FACTFILE: GCE HISTORY OF ART MAJOR MODERN ART MOVEMENTS Major Modern Art Movements Key words Overview New types of art; collage, assemblage, kinetic, The range of Major Modern Art Movements is photography, land art, earthworks, performance art. extensive. There are over 100 known art movements and information on a selected range of the better Use of new materials; found objects, ephemeral known art movements in modern times is provided materials, junk, readymades and everyday items. below. The influence of one art movement upon Expressive use of colour particularly in; another can be seen in the definitions as twentieth Impressionism, Post Impressionism, Fauvism, century art which became known as a time of ‘isms’. Cubism, Expressionism, and colour field painting. New Techniques; Pointilism, automatic drawing, frottage, action painting, Pop Art, Neo-Impressionism, Synthesism, Kinetic Art, Neo-Dada and Op Art. 1 FACTFILE: GCE HISTORY OF ART / MAJOR MODERN ART MOVEMENTS The Making of Modern Art The Nine most influential Art Movements to impact Cubism (fl. 1908–14) on Modern Art; Primarily practised in painting and originating (1) Impressionism; in Paris c.1907, Cubism saw artists employing (2) Fauvism; an analytic vision based on fragmentation and multiple viewpoints. It was like a deconstructing of (3) Cubism; the subject and came as a rejection of Renaissance- (4) Futurism; inspired linear perspective and rounded volumes. The two main artists practising Cubism were Pablo (5) Expressionism; Picasso and Georges Braque, in two variants (6) Dada; ‘Analytical Cubism’ and ‘Synthetic Cubism’. This movement was to influence abstract art for the (7) Surrealism; next 50 years with the emergence of the flat (8) Abstract Expressionism; picture plane and an alternative to conventional perspective.
    [Show full text]
  • Italian Painting in Between the Wars at MAC USP
    MODERNIDADE LATINA Os Italianos e os Centros do Modernismo Latino-americano Classicism, Realism, Avant-Garde: Italian Painting In Between The Wars At MAC USP Ana Gonçalves Magalhães This paper is an extended version of that1 presented during the seminar in April 2013 and aims to reevaluate certain points considered fundamental to the research conducted up to the moment on the highly significant collection of Italian painting from the 1920s/40s at MAC USP. First of all, we shall search to contextualize the relations between Italy and Brazil during the modernist period. Secondly, we will reassess the place Italian modern art occupied on the interna- tional scene between the wars and immediately after the World War II —when the collection in question was formed. Lastly, we will reconsider the works assem- bled by São Paulo’s first museum of modern art (which now belong to MAC USP). With this research we have taken up anew a front begun by the museum’s first director, Walter Zanini, who went on to publish the first systematic study on Brazilian art during the 1930s and 40s, in which he sought to draw out this relationship with the Italian artistic milieu. His book, published in 1993, came out at a time when Brazilian art historiography was in the middle of some important studies on modernism in Brazil and its relationship with the Italian artistic milieu, works such as Annateresa Fabris’ 1994 Futurismo Paulista, on how Futurism was received in Brazil, and Tadeu Chiarelli’s first articles on the relationship between the Italian Novecento and the São Paulo painters.
    [Show full text]
  • Sretenovic Dejan Red Horizon
    Dejan Sretenović RED HORIZON EDITION Red Publications Dejan Sretenović RED HORIZON AVANT-GARDE AND REVOLUTION IN YUGOSLAVIA 1919–1932 kuda.org NOVI SAD, 2020 The Social Revolution in Yugoslavia is the only thing that can bring about the catharsis of our people and of all the immorality of our political liberation. Oh, sacred struggle between the left and the right, on This Day and on the Day of Judgment, I stand on the far left, the very far left. Be‑ cause, only a terrible cry against Nonsense can accelerate the whisper of a new Sense. It was with this paragraph that August Cesarec ended his manifesto ‘Two Orientations’, published in the second issue of the “bimonthly for all cultural problems” Plamen (Zagreb, 1919; 15 issues in total), which he co‑edited with Miroslav Krleža. With a strong dose of revolutionary euphoria and ex‑ pressionistic messianic pathos, the manifesto demonstrated the ideational and political platform of the magazine, founded by the two avant‑garde writers from Zagreb, activists of the left wing of the Social Democratic Party of Croatia, after the October Revolution and the First World War. It was the struggle between the two orientations, the world social revolution led by Bolshevik Russia on the one hand, and the world of bourgeois counter‑revolution led by the Entente Forces on the other, that was for Cesarec pivot‑ al in determining the future of Europe and mankind, and therefore also of the newly founded Kingdom of Serbs, Cro‑ ats and Slovenes (Kingdom of SCS), which had allied itself with the counter‑revolutionary bloc.
    [Show full text]
  • Alberto Savinio and the "Years of Consent:" the Experience of "Colonna" (1933–34)
    ITALIAN MODERN ART | ISSUE 2: Alberto Savinio ISSN 2640-8511 and the “Years of Consent:” The Experience of “Colonna” (1933–34) ALBERTO SAVINIO AND THE "YEARS OF CONSENT:" THE EXPERIENCE OF "COLONNA" (1933–34) italianmodernart.org/journal/articles/alberto-savinio-and-the-years-of-consent-the-experience- 0 of-colonna-1933-34 Lucilla Lijoi Alberto Savinio, Issue 2, July 2019 https://www.italianmodernart.org/journal/issues/alberto-savinio/----------------. - ---- Abstract This presentation considers the significant role Alberto Savinio played in the production and promotion of Italian culture during the early thirties, focusing specifically on Savinio’s founding and directing of the monthly review Colonna. Periodico di civiltà italiana. Although Colonna folded after only five issues, during its run the periodical served as a vehicle for Savinio to actively contribute to the revival of Italian culture as well as the movement around the “uomo nuovo italiano,” which was promoted by Fascism in the so-called “years of consent.” Crucial to confronting the delicate relationship of Alberto Savinio to fascism in the early thirties is the consideration of his decision to establish Colonna (figure 1), a monthly journal of art and culture that was partially in line with the cultural direction being promoted by Benito Mussolini. An important date in this history is 1933, the year in which Savinio moved to Italy with his family after several years in Paris. The Italy of the early thirties was very different from the country Savinio had left in 1926. In fact, Mussolini was pursuing the total “renovation” of the Italian people in his attempt to create “the new fascist man,” a protagonist for both the Mediterranean and Europe.
    [Show full text]
  • Download PDF Datastream
    Representations of Hybridity: Science, Techne and the Human in the Works of Alberto Savinio By Nicole Torian Gercke B.A., Dartmouth College, 1998 M.A., Middlebury College, 2008 Dissertation Submitted in partial fulfillment of the requirements for Degree of Doctor of Philosophy in the Department of Italian Studies at Brown University PROVIDENCE, RHODE ISLAND MAY 2015 © Copyright 2015 by Nicole Torian Gercke ii This dissertation by Nicole Gercke is accepted in its present form by the Department of Italian Studies as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date ___________ ______________________________________ Massimo Riva, Advisor Recommended to the Graduate Council Date ____________ ______________________________________ Suzanne Stewart-Steinberg, Reader Date ____________ ______________________________________ Keala Jewell, Reader Approved by the Graduate Council Date ____________ ______________________________________ Peter Weber, Dean of the Graduate School iii CURRICULUM VITAE Nicole Gercke was born in Charlottesville, Virginia, on August 17, 1976. She earned her Bachelor of Arts in Classics, with a minor in Studio Art from Dartmouth College in 1998. She taught English in Italy for four years before returning to pursue a Masters of Arts in Italian Studies from Middlebury College, which was awarded in 2008. iv ACKNOWLEDGEMENTS I would like to thank wholeheartedly all of the faculty and my colleagues in the Italian Studies department and those friends and family, near and far, who through all these years have supported me, believed in me, challenged me to think critically, inspired me with their creativity and dedication, made me laugh and kept my eyes open to the world around me. My deepest love and gratitude to you all.
    [Show full text]
  • Neue Sachlichkeit, Metaphysical Painting, and Leftist Visions of Labor in 1920S Weimar
    27 Superstructure: Neue Sachlichkeit, Metaphysical Painting, and Leftist Visions of Labor in 1920s Weimar Ara H. Merjian Two figures stand barefoot on opposite sides of a narrow street, the plunging vectors of which converge upon a distant, central vanishing point [fig. 1]. Clad in red and green cloaks respectively, they seem, at first blush, trans- posed from some Biblical scene. The long hair and beard of the impassive figure in a red robe at left conjures up a time-traveling Christ, while the figure in green raises a hand to his pained face like some latter-day Adam har- ried from Eden. This Manichean face-off occurs not in a distant Biblical antiquity, however, but the contemporary moment of the painting’s making. Giuseppe Scalarini cre- ated the image in 1920 at the height of Italy’s Red Bienni- um: a violent conflagration between left and right which reached the dimensions of civil war in scale and intensity. A pair of institutional entities – and their respective flags – stand here in an embodiment of that conflagration. The local Socialist Party headquarters of some provincial town fig. 1 G. Scalarini, Luce e ombra, 1920 squares off against the offices of the Christian-democratic oriented Partito Popolare – a party even- tually riven by pro- and anti-Fascist elements following the March on Rome. 1919 had seen the Partito Popolare debut to great success, gaining twenty percent of deputies in Italy’s new electoral system – bested only by the Socialists.1 The latter would find themselves increasingly targeted by Mussolini’s Blackshirts, with the collective occupation of factories matched by widespread Black- shirt violence against Socialist offices across the country.
    [Show full text]
  • Uncannily Real Italian Painting of the 1920S 28 September 2018 – 13 January 2019 Opening: 27 September, 7 P.M
    Press materials Uncannily Real Italian Painting of the 1920s 28 September 2018 – 13 January 2019 Opening: 27 September, 7 p.m. Content 1. Press release 2. Biographies – a selection 3. Wall texts 4. General information 5. Catalogue 6. Press images 7. Fact sheet Museum Folkwang Press Release Uncannily Real – a major special exhibition on Italian painting of the 1920s on display at Museum Folkwang from 28 September. Essen, 27.9.2018 – The exhibition Uncannily Real: Italian Painting of the 1920s presents more than 80 paintings from Realismo Magico. This artistic movement emerged in Italy in the wake of the First World War, parallel to Neue Sachlichkeit in Germany. Outstanding works by key protagonists such as Felice Casorati, Antonio Donghi and Ubaldo Oppi are featured alongside influential paintings by Giorgio de Chirico and Carlo Carrà. This represents the first comprehensive presentation of these works in Germany, allowing visitors to rediscover this strand of Modernism. After the experiences of the First World War, in Europe and beyond, many artists returned to a realistic form of representation, definitively abandoning Expressionism. Picking up on the metaphysical painting of Giorgio de Chirico and Carlo Carrà and the rappel à l’ordre (call for a return to order) issued by Parisian Neo-Classicism, the artists cause time to stand still in their paintings. They imbue their realistic depictions with dream-like, uncanny, at times disturbing elements. The paintings depict their subject matter clearly and precisely, while retaining a cryptic quality to their atmospheres and themes. The result is the production of evocative works of outstanding painterly quality, often in dazzling colours.
    [Show full text]
  • The Collected Poems of Giorgio De Chirico
    195 THE COLLECTED POEMS OF GIORGIO DE CHIRICO I Paris 1911-1915 1. Hopes1 Te astronomer poets are exuberant. Te day is radiant the public square flled with sunlight. Tey are leaning against the veranda. Music and love. Te incredibly beautiful woman. I would sacrifce my life for her velvet eyes. A painter has painted a huge red smokestack Tat a poet adores like a divinity. I remember that night of springtime and cadavers. Te river was carrying gravestones that have disappeared. Who still wants to live? Promises are more beautiful. So many fags are fying from the railroad station. Provided the clock does not stop A government minister is supposed to arrive. He is intelligent and mild he is smiling. He comprehends everything and at night by the glow of a smoking lamp While the warrior of stone dozes on the dark public square He writes sad passionate love letters. 1 Original title, Espoirs, published in “La révolution surréaliste”, n. 5, Paris 15 October 1925, p. 6. Te Éluard-Picasso Manuscripts (1911-1915), including theoretical writings and poems written in French and 29 drawings, constitute an essential testimony of de Chirico’s early theoretical and artistic considerations. (See J. de Sanna, Giorgio de Chirico - Disegno, Electa, Milan 2004, pp. 12-15). De Chirico arrived in Paris, from Florence, on 14 July 1911 and remained in the capital until late May 1915 when, called to arms, he returned to Italy with his brother Alberto Savinio. Initially in Paul Éluard’s collection, the manuscripts were later acquired by Picasso. Today they are conserved in ‘Fonds Picasso’ at Musée National Picasso, Paris.
    [Show full text]
  • Stratigraphy of Andromeda: Giorgio De Chirico, Alberto Savinio, Origins, and Originality
    Stratigraphy of Andromeda: Giorgio de Chirico, Alberto Savinio, Origins, and Originality Alessandro Giammei Modernism/modernity, Volume 25, Number 1, January 2018, pp. 21-43 (Article) Published by Johns Hopkins University Press For additional information about this article https://muse.jhu.edu/article/685294 Access provided by Princeton University (30 Jan 2018 17:46 GMT) Stratigraphy of Andromeda: Giorgio de Chirico, Alberto Savinio, Origins, and Originality Alessandro Giammei MODERNISM / modernity vivam, parsque mei multa superstes erit VOLUME TWENTY FIVE, —Ovid, Amores1 NUMBER ONE, PP 21–43. © 2018 A large, cropped wheel with six bolstered spokes is bolted, JOHNS HOPKINS firmly, to nothing (fig. 1). It looks ready to transfer the energy UNIVERSITY PRESS produced by a grounded pneumatic apparatus (an engine? a plinth?) to some other invisible mechanism, out of view to the right. It is impossible to understand how the slender system of pistons and levers is meant to work. While an aesthetic fascina- tion for the absolute plastic quality of machinery is undeniable, Alessandro this image does not represent actual technology. It seems that to Giammei is Cotsen produce it Francis Picabia used an engineering illustration as an Postdoctoral Fellow in objet trouvé and painted over it, highlighting some details while the Society of Fellows obliterating most of the functional context with his brush.2 As a at Princeton University, result, the machine has no evident function. The two dominant where he teaches in the Department of hues underline the artist’s estranging gesture. The metallic body French and Italian and of the mechanical object is green, like the patina that surrounds in the Prison Teaching antique bronze statues, while the background evokes the same Initiative.
    [Show full text]
  • Vietinghoff Vietinghoff – the Mystic and His
    Vietinghoff – the mystic and his contemporaries Translated and reviewed in January 2012 Egon von Vietinghoff’s birth and artistic awakening belongs to an era of several revolutions, particu- larly socio-political ones (partly due to World War II) such as the collapse of centuries old monarchies in the short period from 1910 to 1924 in Greece, Portugal and the multiethnic empires in China, Mon - golia, Austria (including Hung ary, Czech, Slovakia and the Balkan) and Turkey, Syria, Lebanon (Otto - man empire). Last but not least , the revolutions in Germany and Russia were both decisive in the his - tory of the Vietinghoff family. In Egon’s biography, music and literature were alrea dy “occupied” by his father and mother, both of them distinctive personalities. Thus, their sensual son found in the fine arts an inviting field for his youthful start to his career. This area was popular among other sensitive and creative people as well because the fine arts were as exposed to fundamental change as the political and social structures. Young Egon was confronted with multiple “isms” with which the present layman is no longer familiar (in alphabetic order): Alogism, Concretism , Constructivism, Cubo-Futurism, Fauvism, Futurism, Mini- malism, Neo-Plasticism, Orphism, Primitivism, Projectionism, Rayonism, Simultanism, Suprematism, Symbolism, Tachism, Tubularism, and Vibrationism. In modern general education, there still remains aft er Impressionism, only Expressionism, Cubism, Dadaism, and Surrealism. Vietinghoff soon considered these styles, trends, proposals, fragments and ideological fractions as dead ends, fashion or phantasm. Comparing his works with those of his contemporaries, it is hard to imagine a common denominator without describing the atmo sphere at that time.
    [Show full text]
  • Alberto Savinio Study Days
    ALBERTO SAVINIO STUDY DAYS CIMA – CENTER FOR ITALIAN MODERN ART 421 BROOME STREET, 4 TH FLOOR, NYC Serena Alessi • Franco Baldasso • Alice Ensabella • Nicole Gercke • Lucilla Lijoi • Chiara Mari • Nicol Maria Mocchi • Paola Italia • Giulia Tulino • Elena Salza • Carlos Segoviano • Martin Weidlich WIFI NETWORK: Cima5G PASSWORD: italianmodernarts /CIMANYC /ITALIANMODERNART @ITALIANMODERNART @ITALIANMODART FRIDAY, APRIL 27 2pm – 4:30pm Visual and cultural sources in Savinio’s literature: myths and doubles Chair: Alice Ensabella Followed by Q&A Franco Baldasso Alberto Savinio and the Myth of Babel: Multiplicity, Genealogies and Translation in “Hermaphrodito” This contribution argues that in his experimental text Hermaphrodito (1918), Savinio takes to the extreme Nietzsche’s etymological research launched in The Genealogy of Morals. Through the autobiographical yet fantastic narrative of his “homecoming” to native Greece during WWI, Savinio represents the impossibility of the founding myth of Western civilization, the original unity that supports all metaphysical systems from Plato onwards. Through the encounter with the ambiguous figure of the hermaphrodite in the book’s epilogue, he advocates for the unfeasibility of a unified language before Babel and the fundamental truth this deceptive myth conceals—constitutional ontological multiplicity. Franco Baldasso is Director of the Italian Program at Bard College, NY, where he is Assistant Professor of Italian Studies. In his research, Baldasso examines the complex relations between Fascism and Modernism, the legacy of political violence in Italy, and finally the idea of the Mediterranean in modern and contemporary aesthetics. He authored a book on Holocaust survivor Primo Levi, Il cerchio di gesso. Primo Levi narratore e testimone (Pendragon, 2007). In summer 2017, Baldasso held a CIMA Affiliated Fellowship at the Civitella Ranieri Foundation for his book manuscript provisionally titled Democracy and Defeat: Literary Dissent during the Transition to Post-Fascism in Italy.
    [Show full text]