Nietzsche‟S Aura in De Chirico‟S Art

Lucio GIULIODORI, Elena NOTINA

UDC 11:75 Lucio GIULIODORI, Elena NOTINA

THE VISION AND THE ENIGMA: NIETZSCHE‟S AURA IN DE CHIRICO‟S ART

Abstract

Giorgio De Chirico definitely stands out as a peculiar character of the Italian Novecento and his art ties directly with Nietzsche‟s philosophy whose eternal questions paved the way to his “immanent metaphysics” which is typified and pervaded by ever-present melancholia brought about by a heightened awareness of the death of God. Grappling with “the world seen for the first time” De Chirico‟s narrative does not depict reality rather its ghost, the latter is seen by dint of revelations and hallucinations. This paper sheds light onto some significant kinships between the two characters as not only philosophical concerns are vital but illness too. The philosopher suffered since his very childhood from severe migraine and then from a psychiatric illness with depression while the painter unknowingly suffered from migraine aura. This ailment, affecting the fragile border amid perceived reality and hallucinated reality, turned out to be a remarkable source of inspiration which boosted the visions and the enigmas the artist was entwined with. Overall, Nietzsche ushered in a picture of the world that De Chirico has wholeheartedly shared, however, in the light of his disorder, the empathy went even further, and this is the noteworthy aspect this paper aims at underscoring.

Keywords: Giorgio De Chirico, Friedrich Nietzsche, avant-gardes, metaphysical art, Italian studies, Italian art, philosophy of art, neuroaesthetics, illness.

Introduction the intense artistic atmosphere of one of the most vibrant European capitals at his time. The pro- Shortly after De Chirico‟s father died cess of cultural assimilation affected not only the (1905), his mom Gemma decided to move to artistic sphere - his early works are deeply influ- Germany looking at this country as an ideal enced by Böcklin, let us think of The enigma of place for her children‟s education. Her move the Oracle (1909)1 - Nietzsche and Schopenhau- turned out to be totally farsighted.

In 1907, at the age of 18, Giorgio De Chiri- 1 “The pensive figure wrapped in a long cloak seen in co entered the Academy of Fine arts in Munich. a rear view, fully in the Romantic tradition of con- templative figures seen from behind” – let us think of This was indeed an essential chapter of his life as Caspar Friedrich‟s Wanderer – “is cited almost liter- from now on, and De Chirico started to soak up ally from Böcklin‟s Odysseus and Calypso of 1882. De Chirico was fascinated during this period by

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UDC 11:75 er soon became strong pillars of his picture of the may be the very „revelation‟, pictorially of Lucio GIULIODORI, world, a world painted with their enthralling phi- course, that readers of Nietzsche are look- Elena NOTINA losophies. ing for in text” (p. 11). As J. M. Faerna (1995) outlines: First of all, De Chirico shares with Nie- THE VISION AND THE ENIGMA: NIETZSCHE‟S AURA “This distinctive grounding was markedly tzsche the love for ancient Greece and not only because he was born in that country. In the early IN DE CHIRICO‟S ART different from that received by most other young French and Italian artists of the pe- twentieth century among artists and men of cul-

riod, whose lessons came largely from the ture, the love for classics, Greek myths, in par- Abstract poetic Tradition of Romanticism – Charles ticular, was widely spread if not even a must2.

Baudelaire, Arthur Rimbaud and Stéphane Ancient Greek references in De Chirico‟s paint- Giorgio De Chirico definitely stands out as a peculiar character of the Italian Novecento and his art Mallarmé. This difference helps to explain ings are persistent, let us think of Hector and ties directly with Nietzsche‟s philosophy whose eternal questions paved the way to his “immanent meta- the singularity of De Chirico‟s work, Andromache, The song of love, Furniture and physics” which is typified and pervaded by ever-present melancholia brought about by a heightened which his contemporaries did not always rocks in a room and Strange travellers just to awareness of the death of God. understand. It also provides a clue to his name a few. Grappling with “the world seen for the first time” De Chirico‟s narrative does not depict reality rather method of painting, which was first intel- M. Holzhey (2017), referring to De Chiri- its ghost, the latter is seen by dint of revelations and hallucinations. lectual and the pictorial” (p. 7). co‟s famous portrait, summarises the matter: This paper sheds light onto some significant kinships between the two characters as not only philo- Even though De Chirico was a well- educated painter whose interests were wide, Nie- “The pose he strikes in his self-portrait of sophical concerns are vital but illness too. The philosopher suffered since his very childhood from severe 1911 is a direct citation of Nietzsche‟s own tzsche certainly stands out as the main source of migraine and then from a psychiatric illness with depression while the painter unknowingly suffered from portrait photograph. De Chirico saw Nie- his inspiration, the foundation of his aim, both as migraine aura. This ailment, affecting the fragile border amid perceived reality and hallucinated reality, tzsche not only as a guideline but also as a a painter and as a human being. As Dori Gilinski turned out to be a remarkable source of inspiration which boosted the visions and the enigmas the artist figure of identification […] With Nietzsche was entwined with. (2013) asserts: De Chirico shared not only his love of the “It would be a rather grand claim that the Overall, Nietzsche ushered in a picture of the world that De Chirico has wholeheartedly shared, how- enigma but also his fascination with the „meaning‟ of de Chirico‟s Metaphysical ever, in the light of his disorder, the empathy went even further, and this is the noteworthy aspect this pa- world of classical mythology. Both the Lat- works could be deciphered with the guid- per aims at underscoring. in quotation beneath the programmatic ance of Nietzsche‟s writings. Does the re- self-portrait and the eye devoid of a pupil

lationship of influence between the philos- make reference to the blind seer of antiqui- Keywords: Giorgio De Chirico, Friedrich Nietzsche, avant-gardes, metaphysical art, Italian studies, opher and the artist suggest this is possi- ty. We will encounter the notion of outer Italian art, philosophy of art, neuroaesthetics, illness. ble? De Chirico aestheticises Nietzsche‟s blindness again and again in De Chirico‟s ideas, yet his pre-1915 works are hardly ouvre. Blind to the present, the eye is not transcriptions in image form. Indeed, De fixed on outward form but sees the inner Introduction the intense artistic atmosphere of one of the most Chirico‟s genius lies not merely in inter- or future shape of things. The Metaphysi- vibrant European capitals at his time. The pro- preting Nietzsche‟s philosophies but in cal artist therefore assumes a prophetic Shortly after De Chirico‟s father died cess of cultural assimilation affected not only the conjuring a mysterious atmosphere, a for- ability to turn his gaze upon the unfamiliar lorn mood, an inexplicable sensation that (1905), his mom Gemma decided to move to artistic sphere - his early works are deeply influ- aspect of things” (p. 8.). Germany looking at this country as an ideal enced by Böcklin, let us think of The enigma of Nietzsche is defined by De Chirico (1999) 1 Homer‟s account of the wanderings of the Greek he- as “the most profound of all poets” and the paint- place for her children‟s education. Her move the Oracle (1909) - Nietzsche and Schopenhau- ro Odysseus, who, as the embodiment of a traveler turned out to be totally farsighted. with an uncertain destiny, became another figure of identification in his own life history. Böcklin‟s pen- 2 Renato Miracco (2013) speaks about “the need felt In 1907, at the age of 18, Giorgio De Chiri- 1 “The pensive figure wrapped in a long cloak seen in sive Ulysses, yearning for home, becomes in De Chi- by 20th century art to go back through past ages and co entered the Academy of Fine arts in Munich. a rear view, fully in the Romantic tradition of con- rico‟s painting a thinker contemplating the enigmas civilizations, attempting to retrieve a primordial gy- templative figures seen from behind” – let us think of of the world and the mystery of his own existence. naeceum, the origin, the matrix, and to develop a This was indeed an essential chapter of his life as Caspar Friedrich‟s Wanderer – “is cited almost liter- The oracle, voice of fate, is present in the shape of monumental representation that will impress itself from now on, and De Chirico started to soak up ally from Böcklin‟s Odysseus and Calypso of 1882. the marble head of a statue concealed behind a cur- onto the collective mind and constitute an indelible De Chirico was fascinated during this period by tain” (Holzheny, 2017, p. 14). reference image”, (p. 13).

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ing The Delights of the Poet of 1913 is most like- nal afternoon4 and in the afternoon that stretches ly dedicated to him3. Writing to his friend Fritz the uncanny shadows populating De Chirico‟s Gartz, the Master affirms: “I am the only man squares, filled with Schopenhauerian melan- who has understood Nietzsche, all my works choly, mirrors of inner kaleidoscopic experienc- prove it” (p. 422). In another letter he clarifies: es. Not a metaphysics of beyond rather a row “A new air has now flooded my soul - a metaphysics overtly entwined with the empirical new song I‟ve heard - and the whole world facets, embedded in the here and now, made of now appears to me completely changed - stillness mightily bewildering. the afternoon Autumn has arrived - It was this all-important conclusion that De stretched shadows, clear air, clear sky - in Chirico took from Nietzsche. Pittura Metafisica a word Zarathustra has arrived, did you sought the enigmatic quality of earthly phenom- understand me???”(Dottori, 2019, p. 98, ena not in some other dimension, but within the my translation). In the famous chapter, The vision and the things of this world: “We metaphysicians have sanctified the real”, he wrote in 1919. De Chiri- enigma – this title alone could precisely describe the whole art of De Chirico – Zarathustra, talking co, with excellent penetration, recognised this aspect in Nietzsche, who did not limit himself to to the dwarf, declares: “See this gateway, dwarf!” I continued. “It the destruction of an idealistic truth but prepared has two faces. Two paths come together the ground for a new poetics (Holzhey, 2017, p. here; no one has yet walked them to the 15). end. This long lane back: it lasts an eterni- De Chirico‟s aim lies into exercising the ty. And that long lane outward – that is eye, like the rest of the senses, in order to realise another eternity. how metaphysics is rooted in the daily world of They contradict each other, these experience; only once this goal is attained it is paths; they blatantly offend each other – possible to penetrate the enigma of the moment, and here at this gateway is where they to have a vision of it. To this regard, the Italian come together. The name of the gateway is painter reminds of Lev Šestov‟s “second sight”, inscribed at the top: „Moment‟” (Nie- a rare ability necessary to go beyond the analyti- tzsche, 2006, p. 225). The timeless and motionless moment finds cal perception of reality, i.e. the ordinary low- its perfect balance both in the Nietzschean eter- brow perception, in order to glimpse what lies beyond the realm‟s layers of meanings. However, this again refers to an elitist, “esoteric” matter as the majority of people – De Chi- 3 “The first work to exhibit the typical characteristics of these Italian squares with their enigmatic mood is rico seems to suggest – are not able to get that The Delights of the Poet: a wide, empty piazza bor- dered by shadowy arcades leading back into the far, as long as they keep their eyes stuck to the depths; a high horizon with a locomotive travelling traditional arrow of time that hides the moment across it; a railway station; a sky of vibrant green; long, slanting shadows; in the square a solitary figure of the enigma under the linear sequence of past, sunk in thought. The motif of the fountain, already familiar from earlier compositions such as The enigma of the Hour, is borrowed from Nietzsche. According to Zarathus- 4 “For Zarathustra the “great noontide” meant high tra‟s “Night Song”: “Tis night: now do all gushing point and turning point, the experience of eternity fountains speak louder. And my soul also is a gush- and the stopping of time, a new perception of the ing fountain” (Holzhey, 2017, p. 24). world” (Holzhey, 2017, p. 37).

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ing The Delights of the Poet of 1913 is most like- nal afternoon4 and in the afternoon that stretches present and future5. Zarathustra‟s teachings in- closed within a portico, the corner of a ly dedicated to him3. Writing to his friend Fritz the uncanny shadows populating De Chirico‟s stead, transcending the discontinuity of that tem- road or even in a room, on the surface of a Gartz, the Master affirms: “I am the only man squares, filled with Schopenhauerian melan- poral tryptic, invites the initiate to travel not to- table, between the sides of a box. who has understood Nietzsche, all my works choly, mirrors of inner kaleidoscopic experienc- wards something but into something, something The limits of these signs constitute for us a kind of moral and aesthetic code of prove it” (p. 422). In another letter he clarifies: es. Not a metaphysics of beyond rather a row mysterious, as mysterious as “This Moment”. representations and moreover, we, with “A new air has now flooded my soul - a metaphysics overtly entwined with the empirical The Master, on a number of occasions, un- clairvoyance, construct in painting a new new song I‟ve heard - and the whole world facets, embedded in the here and now, made of equivocally underscores the elitist essence of metaphysical psychology of things” (De now appears to me completely changed - stillness mightily bewildering. Metaphysical Art, even strongly worded, in full- Chirico & Far, 2002, p. 32). the afternoon Autumn has arrived - It was this all-important conclusion that De Nietzsche style. To this regard, in a letter to stretched shadows, clear air, clear sky - in “Clairvoyance” is a key-word here as De Chirico Chirico took from Nietzsche. Pittura Metafisica Gartz, for example, he wrote: a word Zarathustra has arrived, did you really thought to possess some kind of magic sought the enigmatic quality of earthly phenom- “When I told you my paintings are pro- understand me???”(Dottori, 2019, p. 98, powers, this was due to the hallucinations he suf- ena not in some other dimension, but within the found, you must have thought they were my translation). fered from which allowed him to see things other things of this world: “We metaphysicians have gigantic compositions with many naked In the famous chapter, The vision and the people could not see - this topic will be discussed sanctified the real”, he wrote in 1919. De Chiri- figures trying to overcome something, like enigma – this title alone could precisely describe those painted by Michelangelo, the stupid- in the last paragraph. For now, suffice to high- co, with excellent penetration, recognised this the whole art of De Chirico – Zarathustra, talking est of all painters. No, my dear friend, it is light that in De Chirico, the esoteric elements, aspect in Nietzsche, who did not limit himself to to the dwarf, declares: completely another matter – profoundness totally absent Nietzsche, shouldn‟t be underesti- the destruction of an idealistic truth but prepared “See this gateway, dwarf!” I continued. “It as I understand it and as Nietzsche under- mated as they fuel his Weltanschauung signifi- the ground for a new poetics (Holzhey, 2017, p. has two faces. Two paths come together stood it, is found elsewhere than where it cantly. 15). here; no one has yet walked them to the has been searched for until now. My paint- end. This long lane back: it lasts an eterni- De Chirico‟s aim lies into exercising the ings are small, the biggest 50-70 cm, but An Empty Space of Non-Sense ty. And that long lane outward – that is eye, like the rest of the senses, in order to realise each of them is an enigma, each contains a another eternity. how metaphysics is rooted in the daily world of poem, an atmosphere [Stimmung] that Riccardo Dottori (2006) understands meta- They contradict each other, these experience; only once this goal is attained it is cannot be found in any other painting. physical painting, as carried out by de Chirico, as paths; they blatantly offend each other – possible to penetrate the enigma of the moment, When I exhibit them… it will be a revela- and here at this gateway is where they “the transmutation of a philosophical tradition to have a vision of it. To this regard, the Italian tion for the whole world” (Ross, 1999, p. come together. The name of the gateway is 422). into an art form” (p. 203). painter reminds of Lev Šestov‟s “second sight”, inscribed at the top: „Moment‟” (Nie- In his book Commedia sulla materia pit- To this regard, Dori Gilinski (2006) states: a rare ability necessary to go beyond the analyti- tzsche, 2006, p. 225). torica, he is as much direct: “De Chirico did not seek to paint as a cal perception of reality, i.e. the ordinary low- The timeless and motionless moment finds “The imbecile man, the non-metaphysic, is painter, but rather as a philosopher. The brow perception, in order to glimpse what lies very description of his works as „meta- its perfect balance both in the Nietzschean eter- instinctively led towards the appearance of beyond the realm‟s layers of meanings. physical‟ grants them a peculiar theoreti- mass and height, towards a kind of archi- However, this again refers to an elitist, “eso- cal bent by virtue of the obvious connec- tectural Wagnerism. Affair of innocence; teric” matter as the majority of people – De Chi- tion to the branch of philosophy, which is 3 “The first work to exhibit the typical characteristics they are men who do not know the terrible primarily concerned with the nature of ex- of these Italian squares with their enigmatic mood is rico seems to suggest – are not able to get that lines and angles; they are worn versus the The Delights of the Poet: a wide, empty piazza bor- istence in the world, with what is. Without dered by shadowy arcades leading back into the far, as long as they keep their eyes stuck to the infinite and it is here that their limited psy- a doubt, de Chirico‟s work, when com- depths; a high horizon with a locomotive travelling traditional arrow of time that hides the moment che is revealed [...]. However, we who across it; a railway station; a sky of vibrant green; pared with his artistic contemporaries, of the enigma under the linear sequence of past, know the signs of the metaphysical alpha- long, slanting shadows; in the square a solitary figure shows a heightened awareness of these sunk in thought. bet know which joys and pains are en- The motif of the fountain, already familiar from „eternal‟ questions, underscored by a pe- earlier compositions such as The enigma of the Hour, culiar uncertainty in respect to whether is borrowed from Nietzsche. According to Zarathus- 4 “For Zarathustra the “great noontide” meant high 5 As Manlio Sgalambro states: “A philosophical work tra‟s “Night Song”: “Tis night: now do all gushing point and turning point, the experience of eternity must be like chamber music for the initiate and it answers to such questions can ever be fountains speak louder. And my soul also is a gush- and the stopping of time, a new perception of the must remain an enigma for the common people” achieved. Once again, the influence of ing fountain” (Holzhey, 2017, p. 24). world” (Holzhey, 2017, p. 37). (Sgalambro, 1991, p. 106).

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Nietzsche is ever-present for it is he and In the world painted by De Chirico, men Schopenhauer who “were the first to teach (both in their psyche and body) and space are me the non-sense of life and how such non- intertwined, insofar as everything exists by dint sense could be transmuted in art” (p. 203). of this enigmatic, metaphysical alchemy, a sort Nietzsche not only rejects the possibility of of interconnectedness of all things whose reason universal truth but calls into question its value: remains unknown though. In this unitary dimen- “Granted that we want the truth: Why not rather sion, the numerous arcades painted by the Mas- untruth? And uncertainty? Even ignorance? The ter, stand out as an occult open passage towards problem of the value of truth presented itself be- the mystery, symbolised by the omnipresent fore us” (Nietzsche, 2008, p. 9). If not the truth, shadows. then the enigma. Probably the most fundamental teaching De “What should I love, if not the enigma of Chirico received from Nietzsche is the impossi- things?” This is what is written under his first bility of finding an ultimate and universal truth. self-portrait in 1911, and this is how he sees6 re- The consequence is a kind of immanent meta- ality: as an enigma. In the wake of Nietzsche, no physics, which at once includes the subject‟s ultimate truth could substantiate reality for there psychic space and the external space as if they is no meaning at all out there. If Nietzsche re- were the same thing, so deep is the connection fused metaphysics in its traditional meaning, so that this metaphysics can guarantee. De Chirico did: beyond this world, there is no “The non-sense of the world hides a more God, there is no truth, there is no sense. in-depth and yet more indecipherable sense, Contrariwise, metaphysics, in its new dechi- “metaphysical”, which cannot be described, but richian meaning, deals with this reality, the only revealed by an image that the artist has the meaning of things, if there is one, is immanent to power to fix” (Calvesi & Mori, 2007, p. 5). the things themselves, this is why De Chirico‟s If Nietzsche especially in Human, all too main characters are things: objects, buildings, human, set the special farewell from the western shadows, squares, mannequins etc. philosophical tradition which claimed to reach the truths of being, the truth of universal 6 “Seeing” is a crucial ability in De Chirico, in his knowledge, De Chirico with his art, experienced Commedia dell‟arte moderna, the painter targets ver- isti (realists) painters, guilty of not being able “to a similar separation. His mannequins, as human- see”: “In Italy, there is a strong tendency among ised emblems of melancholy, embody it: they are painters to entrench themselves behind the aegis of the word “verismo”; [...] Those who do not know caught in a moment of metamorphosis: they veer them, could imagine them as men in love with na- towards unknown dimensions of being, categori- ture, spending their days in the observation and continuous study of the sky, the earth, the waters, men, cally enigmatic, far away from definite, ultimate, plant, animals. But alas! This is not the case. They are simply mediocre artists. The gods have denied philosophical (metaphysical in the traditional them not only genius but talent too and therefore all meaning) definition of truths. those virtues that are linked to talent and genius such as: creativity, heroic sense, feeling, acumen, lyri- The end of traditional metaphysics can be cism, memory, faculty of assimilation and of enslave traced back to the famous Nietzschean exclama- the assimilated to one‟s personality. They, on the contrary, never observe nature and, if they look at it tion: “God is dead!”. As Martin Heidegger they do it with the banal man‟s eyes who looks with- (1984) states: “God is the term to designate the out seeing. They are not equipped with the eyes of the observing artist, able to guess and remember”. world of ideas and ideals [...] Thus the expres- (De Chirico & Far, 2002, p. 36, my translation).

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Nietzsche is ever-present for it is he and In the world painted by De Chirico, men sion “God is dead” means that the ultra-sensitive considerably important, that is why their role in Schopenhauer who “were the first to teach (both in their psyche and body) and space are world is without real force, it does not dispense De Chirico‟s output, will be discussed in the next me the non-sense of life and how such non- intertwined, insofar as everything exists by dint life at all. [...] If God, as an ultra sensible cause paragraph. sense could be transmuted in art” (p. 203). of this enigmatic, metaphysical alchemy, a sort and as the end of every reality, is dead, if the Nietzsche not only rejects the possibility of of interconnectedness of all things whose reason world of ideas that is ultra-sensitive has lost its Mannequins: An Attempt to universal truth but calls into question its value: remains unknown though. In this unitary dimen- normative force, and above all its strength of Overcome Humanity “Granted that we want the truth: Why not rather sion, the numerous arcades painted by the Mas- awakening and elevation, nothing remains to untruth? And uncertainty? Even ignorance? The ter, stand out as an occult open passage towards which man can stick and according to which he The death of God implies that no finality problem of the value of truth presented itself be- the mystery, symbolised by the omnipresent can regulate himself. [...] “God is dead” is the can be ascribed to either the world or human ac- fore us” (Nietzsche, 2008, p. 9). If not the truth, shadows. realisation that this nothing is rampant. “Noth- tion, the first main consequence is sufferance: then the enigma. Probably the most fundamental teaching De ing” means here: the absence of an ultra- man has no more values to follow and feels inev- “What should I love, if not the enigma of Chirico received from Nietzsche is the impossi- sensitive and binding world” (p. 356, my transla- itably lost in his way. He can but fall into a state things?” This is what is written under his first bility of finding an ultimate and universal truth. tion). of existential melancholy. This sentiment is re- self-portrait in 1911, and this is how he sees6 re- The consequence is a kind of immanent meta- This deafening nothingness brings about an peatedly depicted in De Chirico‟s works, let us ality: as an enigma. In the wake of Nietzsche, no physics, which at once includes the subject‟s unusual condition of multiple sentiments, only think of the painting Melancholia (1916) where ultimate truth could substantiate reality for there psychic space and the external space as if they apparently antithetical, from the one hand soli- this topic is the primary subject matter. is no meaning at all out there. If Nietzsche re- were the same thing, so deep is the connection tude and melancholy, from the other hand power Mannequins perfectly embody this senti- fused metaphysics in its traditional meaning, so that this metaphysics can guarantee. (in De Chirico even magic) and fullness. Those ment. De Chirico did: beyond this world, there is no “The non-sense of the world hides a more sentiments are experienced by Nietzsche and De They seem the Master‟s alter ego: they are God, there is no truth, there is no sense. in-depth and yet more indecipherable sense, Chirico, in a different though very similar way. devoid of eyes and mouths as they see the world Contrariwise, metaphysics, in its new dechi- “metaphysical”, which cannot be described, but Nietzsche lives this condition through a sort with a kind of “third”, inner eye (a further esoter- richian meaning, deals with this reality, the only revealed by an image that the artist has the of fullness, incarnated by Zarathustra who com- ic reference), obviously more powerful than the meaning of things, if there is one, is immanent to power to fix” (Calvesi & Mori, 2007, p. 5). pletely rejected transcendence and by doing this human one, as Gerard Legrand points out to us, the things themselves, this is why De Chirico‟s If Nietzsche especially in Human, all too he says yes to life, recovering in his earthly di- “cabalistic tracery occasionally appears on man- main characters are things: objects, buildings, human, set the special farewell from the western mension. It is about a subject who has a body uscripts, and the mannequins display on their shadows, squares, mannequins etc. philosophical tradition which claimed to reach made of instincts and impulses which expresses foreheads strange circular stigmata (presumably the truths of being, the truth of universal the rebirth and liberation of the congenital, re- derived from the conventional sign for infinity), 6 “Seeing” is a crucial ability in De Chirico, in his knowledge, De Chirico with his art, experienced discovered, Dionysian element. endowing these earless, eyelidless beings with Commedia dell‟arte moderna, the painter targets ver- isti (realists) painters, guilty of not being able “to a similar separation. His mannequins, as human- This is the “the meaning of the earth”, em- such features as fish gills, or the single eye of the see”: “In Italy, there is a strong tendency among ised emblems of melancholy, embody it: they are bodied by the Übermensh as Zarathustra an- ancient Cyclops” (Legrand, 1979, p. 47). painters to entrench themselves behind the aegis of the word “verismo”; [...] Those who do not know caught in a moment of metamorphosis: they veer nounced it, because by rejecting once and for all Furthermore, they lack a mouth as they do them, could imagine them as men in love with na- towards unknown dimensions of being, categori- any metaphysical temptation, he declares his fi- not need to speak, at least in everyone‟s lan- ture, spending their days in the observation and continuous study of the sky, the earth, the waters, men, cally enigmatic, far away from definite, ultimate, delity to the earth, by doing that, he recovers a guage. The absence of the mouth symbolises plant, animals. But alas! This is not the case. They are simply mediocre artists. The gods have denied philosophical (metaphysical in the traditional love for life and the world. what in De Chirico is predominant: silence. They them not only genius but talent too and therefore all meaning) definition of truths. In the same way De Chirico, in 1932, as an speak silence because the world they inhabit is a those virtues that are linked to talent and genius such as: creativity, heroic sense, feeling, acumen, lyri- The end of traditional metaphysics can be extraordinary solitary man, as he felt, begins a silent, mute, melancholic world and in order to cism, memory, faculty of assimilation and of enslave traced back to the famous Nietzschean exclama- new artistic and existential path, in which he describe that world they do not need to speak the assimilated to one‟s personality. They, on the contrary, never observe nature and, if they look at it tion: “God is dead!”. As Martin Heidegger mainly displays nudes, portraits and still life, whatsoever, they think though. The bulky geo- they do it with the banal man‟s eyes who looks with- (1984) states: “God is the term to designate the then no longer “anonymous” and mysterious metrical constructions which they always bear, out seeing. They are not equipped with the eyes of the observing artist, able to guess and remember”. world of ideas and ideals [...] Thus the expres- mannequins. Those though, for this study, are relate to a noetic architecture, an endeavour on (De Chirico & Far, 2002, p. 36, my translation).

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the level of thought. prophecy. The mannequin is the alter ego Alberto Savinio, with his novel Chants de of the artist: the blackboard records sta- mi mort whose main character was a faceless tions along De Chirico‟s artistic journey” man, deeply inspired his brother Giorgio De Chi- (p. 40). “The mannequin, in conclusion, represents the achieved figure of his per- rico who starting from 1917 steadily began to sonality as it “becomes a modern formula- paint mannequins. tion of the blind seer of antiquity, a figure However, behind this choice, we cannot but with visionary powers. At the same time, it spot, again, a clear Nietzschean echo: the dum- offers a graphic analogy with the increas- mies, de facto, replacing human beings, symbol- ing loneliness and alienation of modern ise an attempt to overcome humanity, a work in man, the dissonance of human existence” progress towards the Übermensch probably. (p. 45). However, taking everything into account, I do think one more layer of meaning could be Illness as a Source of spotted. Inspiration We should bear in mind De Chirico, even if for a short time, was a soldier, as such he experi- As the master himself points out, the meta- enced the brutality of war, he suffered the conse- physical aspect of reality can be grasped only in quences of it, precisely at the Hospital of Ferrara, rare seconds, “extraordinary moments which the “Villa of enigmas”. Therefore the dummy transcend the innocence and distraction of ordi- could also symbolise man facing something nary men” (De Chirico & Far, 2002, p. 26), this more significant than him, out of his control: war is because “psychologically speaking, to discov- indeed. This man is physically and psychologi- er something mysterious in objects is a symptom cally harmed, helpless and powerless, at the mer- of cerebral abnormality related to certain kinds of cy of events. Such a man is in the throes of a insanity” (De Chirico & Far , 2002, p. 26). The kind of dehumanising effect, in so far as he is real madness, as the Master underlines, “doesn‟t living in a world ruled by madness, rather than appear to everybody, but it will always be and rationality. keep gesticulate and wave behind the matter‟s This interpretation is abetted by the famous screen” (De Chirico & Far, 2002, p. 26). Massi- work Hector and Andromache, where a soldier, mo Carrà was referring at it as the voice of the a dummy, is hugging his beloved woman as he is eternal, as “the grace that in the beginning was about to leave her, setting off for war. As we flourishing down here: the terrestrial immortali- know, De Chirico grabs the Greek myths with ty” (Carrà, 1968, p. 242, my translation). both hands, and in Homer‟s Iliad, Hector is Madness attracting De Chirico‟s concerns forced to leave his beloved Andromache, going could also be undoubtedly ascribed to his total off to war. love for Nietzsche, a philosopher who indeed As Magdalena Holzhey (2017) highlights: went crazy. The famous conversation with a “De Chirico developed the motif of the horse took place in Turin in Piazza Carlo Alber- mannequin in conjunction with Apollinaire to, where an equestrian statue of Carlo Alberto and Savinio. The human substitute without stands. The Pictor Optimus depicted that statue face or voice is blind like the seers of an- in many of his works and it is not difficult to spot tiquity and equally gifted with the power of

WISDOM 2(13), 2019 162 162 The Vision and the Enigma: Nietzsche’s Aura in De Chirico’s Art

the level of thought. prophecy. The mannequin is the alter ego a homage to Nietzsche and his madness. d‟un pomeriggio d‟autunno (1910) and actually, Alberto Savinio, with his novel Chants de of the artist: the blackboard records sta- Quite interesting are some affinities be- when Metaphysical Art was born. Here‟s his mi mort whose main character was a faceless tions along De Chirico‟s artistic journey” tween Nietzsche and De Chirico in terms of in- own words about it: man, deeply inspired his brother Giorgio De Chi- (p. 40). “The mannequin, in conclusion, spiration and disease. First of all Nietzsche, as “On a clear autumn afternoon, I was sit- represents the achieved figure of his per- rico who starting from 1917 steadily began to well as De Chirico, suffered from migraines, ting on a bench in the middle of Piazza sonality as it “becomes a modern formula- paint mannequins. without aura7 though. Santa Croce in Florence. It certainly tion of the blind seer of antiquity, a figure However, behind this choice, we cannot but Elisabeth Forster-Nietzsche writes: wasn‟t the first time I had seen this square. with visionary powers. At the same time, it I had just come out of a long and painful spot, again, a clear Nietzschean echo: the dum- “As I had already said, the illness that em- offers a graphic analogy with the increas- intestinal disease and I was in a state of mies, de facto, replacing human beings, symbol- bittered my brother‟s whole life was a mi- ing loneliness and alienation of modern almost morbid sensitivity. The whole na- ise an attempt to overcome humanity, a work in graine. The days of headaches and nausea man, the dissonance of human existence” ture, up to the marble of the buildings and followed one another, in the best periods, progress towards the Übermensch probably. (p. 45). fountains, seemed to me convalescing. In every three, four weeks, but in the worst However, taking everything into account, I the middle of the square stood a statue that periods they haunted him almost every do think one more layer of meaning could be Illness as a Source of represented Dante dressed in a long cloak week... Sometimes I thought that these at- spotted. Inspiration (…). The statue was in white marble, but tacks were a cruel trick of nature to keep time had given it a very pleasant gray tint. We should bear in mind De Chirico, even if him away from his work, since in those The autumn sun, warm and without love, for a short time, was a soldier, as such he experi- As the master himself points out, the meta- days he could do nothing at all” (Förster illuminated the statue and the facade of the enced the brutality of war, he suffered the conse- physical aspect of reality can be grasped only in Nietzsche, 1990, p. 21). temple. Then I had a strange impression of quences of it, precisely at the Hospital of Ferrara, rare seconds, “extraordinary moments which The second affinity relies on the concept of seeing everything for the first time. And the the “Villa of enigmas”. Therefore the dummy transcend the innocence and distraction of ordi- disease as a real source of inspiration, let us con- composition of my painting came to mind; could also symbolise man facing something nary men” (De Chirico & Far, 2002, p. 26), this sider Nietzsche‟s words: and every time I looked at it I saw this more significant than him, out of his control: war is because “psychologically speaking, to discov- “Once, during the continuous torture my moment again: however, the moment for brain gave me for three days accompanied indeed. This man is physically and psychologi- er something mysterious in objects is a symptom me is an enigma, because it is inexplica- by a painful vomit of mucus, I had an ex- cally harmed, helpless and powerless, at the mer- of cerebral abnormality related to certain kinds of ble. And I also like to call enigma the work ceptional dialectic lucidity and I was able cy of events. Such a man is in the throes of a insanity” (De Chirico & Far , 2002, p. 26). The inspired by it” (De Chirico, 2008, pp. 649- to think in cold blood and in every particu- kind of dehumanising effect, in so far as he is real madness, as the Master underlines, “doesn‟t 652). lar thing for which, in better health, I do living in a world ruled by madness, rather than appear to everybody, but it will always be and Noteworthy, De Chirico sees a disease in not demonstrate a sufficient ability, a suffi- rationality. keep gesticulate and wave behind the matter‟s the surrounding reality as well (“the whole na- cient coldness” (Förster Nietzsche, 1990, This interpretation is abetted by the famous screen” (De Chirico & Far, 2002, p. 26). Massi- ture, up to the marble of the buildings and foun- p. 21). mo Carrà was referring at it as the voice of the work Hector and Andromache, where a soldier, Therefore, both Nietzsche and De Chirico tains, seemed to me convalescing”), not only in eternal, as “the grace that in the beginning was a dummy, is hugging his beloved woman as he is conferred high value to their diseases concerning himself. This lets us understand how sizable in flourishing down here: the terrestrial immortali- about to leave her, setting off for war. As we the concept of creativity itself. As for the Italian the dechirichian Weltanschauung is the marriage ty” (Carrà, 1968, p. 242, my translation). know, De Chirico grabs the Greek myths with artist, not only important rather determinant is of art and disease. both hands, and in Homer‟s Iliad, Hector is Madness attracting De Chirico‟s concerns Ultimately, we need to consider how mes- the value De Chirico always bestowed to his set could also be undoubtedly ascribed to his total forced to leave his beloved Andromache, going of diseases, let us mention the day in Piazza San- merising was the theory of the Eternal Recur- love for Nietzsche, a philosopher who indeed off to war. ta Croce, when he had the intuition of Enigma rence for De Chirico. The painter was “hypno- As Magdalena Holzhey (2017) highlights: went crazy. The famous conversation with a tised” by this concept because of two different “De Chirico developed the motif of the horse took place in Turin in Piazza Carlo Alber- reasons, and the first refers to his migraine prob- 7 About De Chirico‟s migraine aura, see my article mannequin in conjunction with Apollinaire to, where an equestrian statue of Carlo Alberto Paintings and hallucinations: Giorgio De Chirico‟s lems while the second concerns a fascinating and Savinio. The human substitute without stands. The Pictor Optimus depicted that statue aura: https://www.academia.edu/40661295/ Paint- belief. face or voice is blind like the seers of an- ings_and_hallucinations_Giorgio_De_Chirico_s_aura in many of his works and it is not difficult to spot while about Nietzsche‟s migraine see: Hemelsoet, D., tiquity and equally gifted with the power of Hemelsoet, K. & Devreese D., 2008.

WISDOM 2(13), 2019 162 163 163 Lucio GIULIODORI, Elena NOTINA

De Chirico suffered from a very peculiar As it is now fairly clear, De Chirico‟s spe- disease called “migraine aura”, and one of this cific perception of reality was, albeit partially, disease‟s symptoms is déja-vù. In his writings, influenced by his health disorders, one in particu- the Pictor Optimus, repeatedly speaks about dé- lar: the migraine aura and its consequent halluci- ja-vù sensations, at times in association with oth- nations. er migraine symptoms. All things considered, it may be pertinent to propose, as Nicola and Migraine Aura: Beyond Nietzsche Podoll (2003) also do, a link between these symptoms and the nietzchean concept. In other What is of fundamental importance for our words, it could have been precisely these mi- study is to consider how for his whole life De graine experiences that aroused his interest in Chirico was never given a diagnosis: he did not this philosophical doctrine. know that he suffered from it but experienced the The second reason, from a critical point of unusual symptoms, the hallucinations9. The total view, is undoubtedly fascinating: De Chirico ignorance about the illness from which he suf- seems to have genuinely believed in being the fered, is reflected in his writings, from the Mem- reincarnation of Nietzsche. oirs (De Chirico, 2019) to Ebdomero (De Chiri- As discovered by Schmied (1980), this co, 2016), where not only his total unconscious- identification is evident from the eloquent title of ness is evident, but also the consequences that it a work of 1914: Natura morta, Torino 1888. entailed, especially on the level of personality, Quite significantly, that year, 1888, was marked altered by an ego magnified by the fact of “see- both by the birth of the painter in Volos, Greece ing what others did not see”. and by the psychotic crisis of the philosopher in In other words, De Chirico, in the wake of Turin. these hallucinations (mistaken for visions and According to Baldacci (1997): “De Chirico, revelations) and in the wake of the identification as also confirmed by Savinio, believed that Nie- with Nietzsche, felt himself a sort superior being. tzsche‟s wandering soul had abandoned the phi- lus finally lived and died in melancholy”. (Nietzsche, losopher‟s body to enter his” (p. 37). 2008, pp. 101-102). Schmied suggests that: “Yes, the identifica- 9 De Chirico‟s migraine aura disease was deeply stud- ied by the philosopher Ubaldo Nicola and the neu- tion went so far that it sometimes produced the rologist and psychiatrist Klaus Podoll. In their de- same symptoms as Nietzsche‟s disease” (Rubin, tailed essay L‟aura di De Chirico. Aura emicranica e pittura metafisica, they affirm: “In the previous Schmied, & Clair, 1982, pp. 89-107). chapter we compared some of De Chirico‟s works Yet this is another aspect that makes this with migraine art. We believe that the extraordinary similarities encountered are probative and corrobo- character, a great character, from an artistic, rate the diagnosis. The migraine origin of metaphysi- 8 cal painting can be said to be demonstrated. philosophical and psychological point of view . However, this does not mean that De Chirico was aware of it. Not having any diagnosis at his disposal, he always considered his auras not pathological man- 8 “Now, the artist in and of himself is already a lag- ifestations but disturbing events that he was able to gard creature because he still plays a game that be- experience and that urgently required an explana- longs to youth and childhood; in addition, he is grad- tion” (Nicola & Podoll, 2003, p. 56). Moreover, as ually being formed by retrogression into former the two scholars assert, a typical characteristic of times. Thus between him and the other men of his these patients is the reticence, i.e. they tend not to period who are the same age a vehement antagonism talk about it for fear of being mistaken for madmen, is finally generated, and a sad end just as, according however, De Chirico didn‟t fall into this perspective to the tales of the ancients, both Homer and Aeschy- as we will shortly see.

WISDOM 2(13), 2019 164 164 The Vision and the Enigma: Nietzsche’s Aura in De Chirico’s Art

De Chirico suffered from a very peculiar As it is now fairly clear, De Chirico‟s spe- As a matter of fact, his pathology was a by the migraine aura are an integral part of De disease called “migraine aura”, and one of this cific perception of reality was, albeit partially, source of both stress and inspiration. Chirico‟s being. disease‟s symptoms is déja-vù. In his writings, influenced by his health disorders, one in particu- Many migraine sufferers (artists included) The perception that the Master had of him- the Pictor Optimus, repeatedly speaks about dé- lar: the migraine aura and its consequent halluci- share the view that migraine aura is not only a self and in general, his personality, are deeply ja-vù sensations, at times in association with oth- nations. disease but also a sort of artistic privilege or gift affected by the migraine aura. er migraine symptoms. All things considered, it – to this regard Nietzsche (1998) himself stated In conclusion, De Chirico, already pro- may be pertinent to propose, as Nicola and Migraine Aura: Beyond Nietzsche that “illness can become an energetic stimulant foundly influenced by Nietzsche, by both his Podoll (2003) also do, a link between these to live, to live more” (p. 20). figure and his philosophy, tended to attribute symptoms and the nietzchean concept. In other What is of fundamental importance for our “As a matter of fact, migraine aura has all himself some kind of “superpowers”. However, words, it could have been precisely these mi- study is to consider how for his whole life De the features to become a source of creativity, the “superman” he somehow felt to be, was not graine experiences that aroused his interest in Chirico was never given a diagnosis: he did not even more than dreaming. It takes place without meant only in the Nietzschean sense, but also in this philosophical doctrine. know that he suffered from it but experienced the affecting the intellectual lucidity, it repeats itself an esoteric sense tout court. To this regard, De The second reason, from a critical point of unusual symptoms, the hallucinations9. The total many times in an almost equal way, it connects Chirico pushed himself even beyond Nietzsche. view, is undoubtedly fascinating: De Chirico ignorance about the illness from which he suf- in its course to specific emotional states, it shows De Chirico was used to having divinatory or seems to have genuinely believed in being the fered, is reflected in his writings, from the Mem- absurdities that affect the faith in logic and when premonitory experiences (or at least they seemed reincarnation of Nietzsche. oirs (De Chirico, 2019) to Ebdomero (De Chiri- it is accompanied by paramnesias or visual illu- to be as such to him), the most emblematic and As discovered by Schmied (1980), this co, 2016), where not only his total unconscious- sions (for example metamorphopsia, corona famous case is the Portrait of Apollinaire of identification is evident from the eloquent title of ness is evident, but also the consequences that it phenomenon, autokinesis) gives everyday ob- 191410. a work of 1914: Natura morta, Torino 1888. entailed, especially on the level of personality, jects a completely unusual aspect” (Nicola & Moreover, the Pictor Optimus suffered not Quite significantly, that year, 1888, was marked altered by an ego magnified by the fact of “see- Podoll, 2003, p. 131). only from déjà vu but also from jamais vu11 that both by the birth of the painter in Volos, Greece ing what others did not see”. It goes without saying that migraine aura is, to have the impression that the scene one is and by the psychotic crisis of the philosopher in In other words, De Chirico, in the wake of qualifies as real support of perception and there- witnessing never happened. De Chirico obvious- Turin. these hallucinations (mistaken for visions and fore of a re-description of reality, a revealed really interpreted them as revelations12. According to Baldacci (1997): “De Chirico, revelations) and in the wake of the identification ity. One of the most frequent visions for those in To this regard, Nicola and Podoll point out: as also confirmed by Savinio, believed that Nie- with Nietzsche, felt himself a sort superior being. the grip of a hallucination produced by migraine “He considered his power of access to this par- tzsche‟s wandering soul had abandoned the phi- aura, are zigzag shapes (abundantly present in ticular state of mind as the very essence of his lus finally lived and died in melancholy”. (Nietzsche, losopher‟s body to enter his” (p. 37). 2008, pp. 101-102). works such as Il rimorso di Oreste and Il ritorno artistic creativity, at least in the metaphysical pe- Schmied suggests that: “Yes, the identifica- 9 De Chirico‟s migraine aura disease was deeply stud- al castello, both from 1969) and geometric fig- riod” (Nicola & Podoll, 2003, p. 40). ied by the philosopher Ubaldo Nicola and the neu- tion went so far that it sometimes produced the rologist and psychiatrist Klaus Podoll. In their de- ures, the latter plentiful in De Chirico‟s work. Furthermore, what to think of the fact that same symptoms as Nietzsche‟s disease” (Rubin, tailed essay L‟aura di De Chirico. Aura emicranica e Elaborate geometric constructions can be “he claimed to have revelations, premonitory and pittura metafisica, they affirm: “In the previous Schmied, & Clair, 1982, pp. 89-107). chapter we compared some of De Chirico‟s works primarily found on both the mannequins and the clairvoyant dreams, to see inside objects as if he Yet this is another aspect that makes this with migraine art. We believe that the extraordinary archaeologists (painted and repainted in count- had an X-ray view? Alternatively, finally, when similarities encountered are probative and corrobo- character, a great character, from an artistic, rate the diagnosis. The migraine origin of metaphysi- less canvases) as if they had the function of real- he attributed himself very special, if not even 8 cal painting can be said to be demonstrated. philosophical and psychological point of view . However, this does not mean that De Chirico was life support. paranormal, powers, such as becoming, but only aware of it. Not having any diagnosis at his disposal, The mannequins, adorned on their shoul- sometimes, phosphorescent?” (Nicola & Podoll, he always considered his auras not pathological man- 8 “Now, the artist in and of himself is already a lag- ifestations but disturbing events that he was able to ders or around them, are literally supported by 2003, p. 40). gard creature because he still plays a game that be- experience and that urgently required an explana- them as if they are their second skeleton. The longs to youth and childhood; in addition, he is grad- tion” (Nicola & Podoll, 2003, p. 56). Moreover, as 10 De Chirico painted him with a Dante profile on ually being formed by retrogression into former the two scholars assert, a typical characteristic of archaeologists instead, keep them in the abdo- whose left temple, a circle similar to a shooting tar- times. Thus between him and the other men of his these patients is the reticence, i.e. they tend not to men. In both cases, however, they are an integral get was depicted. Interestingly, Apollinaire two years period who are the same age a vehement antagonism talk about it for fear of being mistaken for madmen, later at war was wounded exactly at that point. is finally generated, and a sad end just as, according however, De Chirico didn‟t fall into this perspective part of the body, as the hallucinations produced 11 Both of them are migraine symptoms. to the tales of the ancients, both Homer and Aeschy- as we will shortly see. 12 Cfr: Raskin & Appenzeller, 1980.

WISDOM 2(13), 2019 164 165 165 Lucio GIULIODORI, Elena NOTINA

De Chirico himself, highlights: “For exam- Carrà, M. (1968). Metafisica. Milano: Gabriele ple, I am phosphorescent. I‟m not kidding ... I Mazzotta Editore. see my hand in the dark. Moreover, the more De Chirico, G. (2008). Scritti/1 (1911- 1945). time passes, the more I realise that I am an ex- Romanzi e scritti critici e teorici (a cu- traordinary man” (Soby, 1995, pp. 244-253). His ra di A. Cortellessa). Milano: Bom- words leave no shadow of a doubt on the way he piani. perceived himself and on the powers he thought De Chirico, G. (2016). Ebdòmero. Milano: Abs- to possess, powers among the most disparate. condita. In conclusion, according to De Chirico, the De Chirico, G. (2019). Memorie. Milano: La world can be perceived according to two specific Nave di Teseo. and antithetical aspects, “a usual one, which we De Chirico, G., & Far, I. (2002). Commedia almost always see and which men generally see dell‟arte moderna. Milano: Abscondit. and the other, the spectral or metaphysical, Dottori, R. (2006). The Metaphysical Parable which can only be seen by rare individuals in in Giorgio de Chirico‟s Painting. moments of clairvoyance and metaphysical ab- Metafisica, 5-6, 203-213. straction”(De Chirico & Far, 2002, pp-85-86). Dottori, R. (2019). Dalla poesia di Zarathustra He obviously falls into this last and restricted all‟estetica metafisica. Retrieved Octo- category and loves to remark it repeatedly in his ber 26, 2019, from: writings and interviews. It should be noted that https://fondazionedechirico.org/wp- while many migraine aura patients are reticent in content/uploads/2019/06/093-116- revealing their experiences for fear of being tak- Metafisica-78-R.Dottori-IT.pdf. en for a fool, De Chirico, according to an oppo- Faerna, J. M. (1995). De Chirico. New York: site logic, raises them to superior qualities that Cameo/Abrams. distinguish him from the mass, and not only… In Förster Nietzsche, E. (1990). Die Krankheit doing so, De Chirico went even beyond the phi- Friedrichs Nietzsche. Die Zukunft 30. losopher he mostly loved in so far as he went Gilinski, D. (2013). London: Academia.edu Et beyond his own perceptions, his abilities to see quid amabo nisi quod aenigma est: The the world in its inside, to see the world as if it Influence of Friedrich Nietzsche on were the first time. All De Chirico‟s paintings Giorgio de Chirico. Retrieved October represent the eternal recurrence of this first time, 26, 2019, from: https://www.academia. a moment beyond space and time. edu/21644574/The_Influence_of_Fried rich_Nietzsches_Metaphysics_on_Gior REFERENCES gio_de_Chiricos_Art Heidegger, M. (1984). Sentieri interrotti (traduz. Baldacci, P. (1997). Giorgio de Chirico. The di P. Chiodi). La Nuova Italia, Firenze. metaphysical period 1888-1919. Bos- Hemelsoet, D., Hemelsoet, K., & Devreese, D. ton-New York-Toronto-London: Little (2008). The Neurological Illness of Brown and Co. Friedrich Nietzsche. Acta Neurol Belg. Calvesi, M., & Mori G. (2007). De Chirico. Fi- Mar; 108(1), 9-16 Retrieved December renze: Giunti Editore. 08, 2019, from: https://www.actaneuro

WISDOM 2(13), 2019 166 166 The Vision and the Enigma: Nietzsche’s Aura in De Chirico’s Art

De Chirico himself, highlights: “For exam- Carrà, M. (1968). Metafisica. Milano: Gabriele logica.be/pdfs/2008-1/02- Trans.) Chicago: Cambridge University ple, I am phosphorescent. I‟m not kidding ... I Mazzotta Editore. Hemelsoet%20et%20al.pdf. Press. see my hand in the dark. Moreover, the more De Chirico, G. (2008). Scritti/1 (1911- 1945). Holzhey, M. (2017). De Chirico. Köln: Taschen. Raskin, N. H., & Appenzeller, O. (1980). Mig- time passes, the more I realise that I am an ex- Romanzi e scritti critici e teorici (a cu- Legrand, G. (1979). Giorgio de Chirico. New raine: Clinical Aspects. Major Prob- traordinary man” (Soby, 1995, pp. 244-253). His ra di A. Cortellessa). Milano: Bom- York: Filipacchi Books. lems in Internal Medicine, 19, 28-83. words leave no shadow of a doubt on the way he piani. Miracco, R. (2013). Giorgio De Chirico: myth Roos, G. (1999). Giorgio De Chirico e Alberto perceived himself and on the powers he thought De Chirico, G. (2016). Ebdòmero. Milano: Abs- and archeology. Milano: Silvana Edito- Savinio. Ricordi e documenti (Monaco, to possess, powers among the most disparate. condita. riale. Milano, Firenze, 1906-11). Bologna: In conclusion, according to De Chirico, the De Chirico, G. (2019). Memorie. Milano: La Nicola, U., & Podoll, K. (2003). L'aura di Gior- Bora. world can be perceived according to two specific Nave di Teseo. gio De Chirico. Arte emicrania e pittu- Rubin, W., Schmied, W., & Clair, J. (1982). and antithetical aspects, “a usual one, which we De Chirico, G., & Far, I. (2002). Commedia ra metafisica. Sesto san Giovanni: Mi- Giorgio de Chirico der Metaphysiker. almost always see and which men generally see dell‟arte moderna. Milano: Abscondit. mesis. München: Prestel. and the other, the spectral or metaphysical, Dottori, R. (2006). The Metaphysical Parable Nietzsche, F. (1998). Ecce homo. Milano: Schmied, W. (1980). De Chirico und sein which can only be seen by rare individuals in in Giorgio de Chirico‟s Painting. Adelphi. Schatten. Metaphysische und surrealis- moments of clairvoyance and metaphysical ab- Metafisica, 5-6, 203-213. Nietzsche, F. (2008). Beyond Good and Evil (H. tische Tendenzen in der Kunst des 20. straction”(De Chirico & Far, 2002, pp-85-86). Dottori, R. (2019). Dalla poesia di Zarathustra Zimmern, Trans.). Middlesex: Arc Ma- Jahrhunderts. München: Prestel. He obviously falls into this last and restricted all‟estetica metafisica. Retrieved Octo- nor Publishing. Sgalambro, M. (1991). Del pensare breve. Mila- category and loves to remark it repeatedly in his ber 26, 2019, from: Nietzsche, F. (2008). Human, all too human. no: Adelphi. writings and interviews. It should be noted that https://fondazionedechirico.org/wp- London: Wordsworth Editions. Soby, J. T. (1995). Giorgio De Chirico. New while many migraine aura patients are reticent in content/uploads/2019/06/093-116- Nietzsche, F. (2006) Thus spoke Zarathustra. A York: Museum of Modern Art. revealing their experiences for fear of being tak- Metafisica-78-R.Dottori-IT.pdf. book for all and none (A. del Caro, en for a fool, De Chirico, according to an oppo- Faerna, J. M. (1995). De Chirico. New York: site logic, raises them to superior qualities that Cameo/Abrams. distinguish him from the mass, and not only… In Förster Nietzsche, E. (1990). Die Krankheit doing so, De Chirico went even beyond the phi- Friedrichs Nietzsche. Die Zukunft 30. losopher he mostly loved in so far as he went Gilinski, D. (2013). London: Academia.edu Et beyond his own perceptions, his abilities to see quid amabo nisi quod aenigma est: The the world in its inside, to see the world as if it Influence of Friedrich Nietzsche on were the first time. All De Chirico‟s paintings Giorgio de Chirico. Retrieved October represent the eternal recurrence of this first time, 26, 2019, from: https://www.academia. a moment beyond space and time. edu/21644574/The_Influence_of_Fried rich_Nietzsches_Metaphysics_on_Gior REFERENCES gio_de_Chiricos_Art Heidegger, M. (1984). Sentieri interrotti (traduz. Baldacci, P. (1997). Giorgio de Chirico. The di P. Chiodi). La Nuova Italia, Firenze. metaphysical period 1888-1919. Bos- Hemelsoet, D., Hemelsoet, K., & Devreese, D. ton-New York-Toronto-London: Little (2008). The Neurological Illness of Brown and Co. Friedrich Nietzsche. Acta Neurol Belg. Calvesi, M., & Mori G. (2007). De Chirico. Fi- Mar; 108(1), 9-16 Retrieved December renze: Giunti Editore. 08, 2019, from: https://www.actaneuro

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