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.