Giorgio de Chirico

In his formative years, Giorgio De Chirico constructed worlds within his paintings that were devised to defamiliarize his audience from reality and to depart from the purely observational. In The Melancholy and Mystery of a Street, his implementation of confounding compositional techniques such as unreliable perspective, strong value, unsettling color, and idiosyncratic movement created recognizable images within a distorted reality. This was a practice in which he could draw a viewer into the unease

From our trip to the Norton Museum of Art one piece out of the allotted few struck me as odd and interesting. The Sailor's Barracks by Giorgio De Chirico is a oil on canvas impressionist/metaphysical work of art. The painting is composed of multiple small objects laid about somewhat carelessly on a tilted plane in the foreground with a long piece of architecture in the background that stretches towards the horizon. The foreground is separated by a tilted dark wall, on the left side in an unknown

Giorgio de Chirico, an Italian painter in the early 1900’s painted an enigmatic painting named Mystery and Melancholy of a Street. In this unique painting, Chirico includes many abstract and geometric shapes. The setting of the painting seems like a mixture of Greek and early 1900 architecture and props, such as the wagon with only one lone figure of a child. For example, the two buildings depict a sterile, nearly empty scene, bordered by brightly, lit arches and rectangles windows on the left and

“What I hear is valueless; only what I see is living, and when I close my eyes my vision is even more powerful.” This quote from the metaphysical artist, Giorgio de Chirico, can be relayed to his audience visually through his artwork. During his years as a novice artist, Chirico gained inspiration from the surreal scenarios in the works by European Symbolist artists. Along with these Symbolist artists, Chirico’s pieces of art were influenced by the philosophy of Arthur Schopenhauer and Friedrich

Giorgio De Chirico’s art can be viewed one that evolved tremendously over time. However, his artwork portrayed a number of characteristics and traits that differentiated them from the works of other artists in his time. This is probably why his art remains a puzzling factor to many from the 20th Century to date. A wide use themes and concepts can be seen in a number of his works. He has played a huge role in shaping the surrealist works of art. As mentioned, Giorgio De Chirico’s art differed immensely

The Child's Brain by Giorgio de Chirico caught my eyes on the first instant time I laid eyes upon it. Frankly, and to be quite honest, I did not know of its existence, until this very moment, nor did I knew of its rather complex meaning. The Child's Brain dates back to 1914. The piece seems to take place in Greece, based on the Greek column on the right of the piece. And it is an oil on canvas painting by the Surrealism artist, Giorgio di Chirico. Di Chirico was born in Volos, Greece, in 1888, and

Giorgio de Chirico and Metaphysical Painting: Unwitting Precursors of Surrealism Surrealism was a 20th century art movement whose proponents dedicated themselves to translating their unconscious into art objects. In this essay I will argue that the cultural work accomplished by Giorgio de Chirico’s Piazza d’Italia and his metaphysical painting style is to be precursors of the surrealism movement, whether de Chirico likes it or not. The metaphysical painting style is similar in form to the “dream-transcription”

The Melancholia oil painting by Giorgio de Chirico dated 1916 measuring 20 x 20 ½ inches and the Standing Nude Woman sculpture by Alberto Giacometti dated 1953 measuring 8 ½ x 3 ½ x 4 ¾ inches located in the Menil Collection were both encouraged by European art during the Surrealist movement. This was a time to explore the unconscious mind and to draw from dreams and imagination which resembled a feeling of sadness and alienation suggesting feelings of silence in everyday life. There are many different

The photo “Statue of Marshal Ney in the Fog” was taken by the famous artist Brassaï in 1932, one year before the publishing of his book “Paris de Nuit”, a collection of night photographies of the French capital, mostly representing empty gardens and streets in the rain and fog. The picture, featured in the collection, is a clear example of his early artistic period, which coincides with his first approach to photography itself. In the scene we can see the main element, a monument representing the

birth my family and I moved to Kiev and I would eventually attend and graduate from Kiev Art School in two years. In that same year, I married a Kiev lawyer named Nicoloas Evgenievish Ekstar and moved to Paris for several months and studied at Academeie de la Grande-chaumiere in Paris, I was expelled for not following their artistic ideas. I would later on meet Pablo Picasso, Guillaume Apollinaire, Max Jacob and Fernand Léger in Paris and would become inspired by cubism. (“The reduction of natural forms