Metaphysical painting (Italian: pittura metafisica) or metaphysical art was a style of painting developed by the Italian artists Giorgio de Chirico and Carlo Carrà. The movement began in 1910 with de Chirico, whose dreamlike works with sharp contrasts of light and shadow often had a vaguely threatening, mysterious quality, "painting that which cannot be seen".[1] De Chirico, his younger brother Alberto Savinio, and Carrà formally established the school and its principles in 1917.
Giorgio de Chirico, unlike many artists of his generation, found little to admire in the works of Cézanne and other French modernists, but was inspired by the paintings of the Swiss SymbolistArnold Böcklin and the work of German artists such as Max Klinger.[2] His painting The Enigma of an Autumn Afternoon (c. 1910) is considered his first Metaphysical work; it was inspired by what de Chirico called a "revelation" that he experienced in Piazza Santa Croce in Florence.[3] In subsequent works he developed a disquieting imagery of deserted squares, often bordered by steeply receding arcades shown in a raking light. Tiny figures in the distance cast long shadows, or in place of figures there are featureless dressmakers' mannequins. The effect was to produce a sense of dislocation in time and space.[4]
In 1913, Guillaume Apollinaire made the first use of the term "metaphysical" to describe de Chirico's paintings.[5]
In February 1917, the Futurist painter Carlo Carrà met de Chirico in Ferrara, where they were both stationed during World War I. Carrà developed a variant of the Metaphysical style in which the dynamism of his earlier work was replaced by immobility, and the two artists worked together for several months in 1917 at a military hospital in Ferrara.[6] According to art historian Jennifer Mundy, "Carrà adopted de Chirico's imagery of mannequins set in claustrophobic spaces, but his works lacked de Chirico's sense of irony and enigma, and he always retained a correct perspective".[6] After an exhibition of Carrà's work in Milan in December 1917, critics began to write of Carrà as the inventor of Metaphysical painting, to de Chirico's chagrin.[6] Carrà did little to dispel this idea in Pittura Metafisica, a book he published in 1919, and the relationship between the two artists ended.[5] By 1919, both artists had largely abandoned the style in favor of Neoclassicism.
Between the two World Wars in Italy there were numerous architectural vulgarisations of the metaphysical poetics of the "Piazza d'Italia", whose timeless atmosphere seemed to be congenial to the propaganda needs of the time. Squares of metaphysical flavor were built in the historical centers, as in Brescia or Varese, or in newly founded cities, such as those of the Agro Pontino (Sabaudia, Aprilia), to culminate in the spectacular unfinished EUR in Rome.
Referencesedit
^Conway Morris, Roderick (9 February 2007). "De Chirico: Painting landscapes of the mind". International Herald Tribune. Retrieved 11 April 2020 – via The New York Times. Also available from the personal website of the author. {{cite news}}: External link in |postscript= (help)CS1 maint: postscript (link)
^Cowling, Elizabeth; Mundy, Jennifer (1990). On Classic Ground: Picasso, Léger, de Chirico and the New Classicism 1910–1930. London: Tate Gallery. p. 71. ISBN1-85437-043-X
^Onians, John. Atlas of world art. Laurence King Publishing, 2004. p. 288. Web. 07 Oct. 2011.
^ abcdefGale, Matthew. "Pittura Metafisica". Grove Art Online. Oxford Art Online. Oxford University Press. Web.
^ abcCowling, Elizabeth; Mundy, Jennifer (1990). On Classic Ground: Picasso, Léger, de Chirico and the New Classicism 1910–1930. London: Tate Gallery. p. 52. ISBN1-85437-043-X
^Morandi, Giorgio (1988). Morandi. New York: Rizzoli. p. 141. ISBN0-8478-0930-7
External linksedit
Giorgio de Chirico: The Spirits Released : De Chirico and Metaphysical Perspective
January 01, 1970
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Metaphysical painting Italian pittura metafisica or metaphysical art was a style of painting developed by the Italian artists Giorgio de Chirico and Carlo Carra The movement began in 1910 with de Chirico whose dreamlike works with sharp contrasts of light and shadow often had a vaguely threatening mysterious quality painting that which cannot be seen 1 De Chirico his younger brother Alberto Savinio and Carra formally established the school and its principles in 1917 The Disquieting Muses by Giorgio de Chirico 1947Development edit nbsp The Song of Love by Giorgio de Chirico 1914 Giorgio de Chirico unlike many artists of his generation found little to admire in the works of Cezanne and other French modernists but was inspired by the paintings of the Swiss Symbolist Arnold Bocklin and the work of German artists such as Max Klinger 2 His painting The Enigma of an Autumn Afternoon c 1910 is considered his first Metaphysical work it was inspired by what de Chirico called a revelation that he experienced in Piazza Santa Croce in Florence 3 In subsequent works he developed a disquieting imagery of deserted squares often bordered by steeply receding arcades shown in a raking light Tiny figures in the distance cast long shadows or in place of figures there are featureless dressmakers mannequins The effect was to produce a sense of dislocation in time and space 4 In 1913 Guillaume Apollinaire made the first use of the term metaphysical to describe de Chirico s paintings 5 nbsp Carlo Carra 1918 L Ovale delle Apparizioni The Oval of Apparition oil on canvas 92 x 60 cm Galleria Nazionale d Arte Moderna Rome In February 1917 the Futurist painter Carlo Carra met de Chirico in Ferrara where they were both stationed during World War I Carra developed a variant of the Metaphysical style in which the dynamism of his earlier work was replaced by immobility and the two artists worked together for several months in 1917 at a military hospital in Ferrara 6 According to art historian Jennifer Mundy Carra adopted de Chirico s imagery of mannequins set in claustrophobic spaces but his works lacked de Chirico s sense of irony and enigma and he always retained a correct perspective 6 After an exhibition of Carra s work in Milan in December 1917 critics began to write of Carra as the inventor of Metaphysical painting to de Chirico s chagrin 6 Carra did little to dispel this idea in Pittura Metafisica a book he published in 1919 and the relationship between the two artists ended 5 By 1919 both artists had largely abandoned the style in favor of Neoclassicism nbsp Arnaldo dell Ira Piazza d Italia 1934 Other painters who adopted the style included Giorgio Morandi around 1917 1920 7 Filippo de Pisis and Mario Sironi 5 In the 1920s and later the legacy of Metaphysical painting influenced the work of Felice Casorati Max Ernst and others 5 Exhibitions of Metaphysical art in Germany in 1921 and 1924 inspired the use of mannequin imagery in works by George Grosz and Oskar Schlemmer 5 Many paintings by Rene Magritte Salvador Dali and other Surrealists make use of formal and thematic elements derived from Metaphysical painting 5 Between the two World Wars in Italy there were numerous architectural vulgarisations of the metaphysical poetics of the Piazza d Italia whose timeless atmosphere seemed to be congenial to the propaganda needs of the time Squares of metaphysical flavor were built in the historical centers as in Brescia or Varese or in newly founded cities such as those of the Agro Pontino Sabaudia Aprilia to culminate in the spectacular unfinished EUR in Rome References edit Conway Morris Roderick 9 February 2007 De Chirico Painting landscapes of the mind International Herald Tribune Retrieved 11 April 2020 via The New York Times Also available from the personal website of the author a href Template Cite news html title Template Cite news cite news a External link in code class cs1 code postscript code help CS1 maint postscript link Cowling Elizabeth Mundy Jennifer 1990 On Classic Ground Picasso Leger de Chirico and the New Classicism 1910 1930 London Tate Gallery p 71 ISBN 1 85437 043 X Holzhey Magdalena Giorgio de Chirico Cologne Taschen 2005 p 16 ISBN 3 8228 4152 8 Onians John Atlas of world art Laurence King Publishing 2004 p 288 Web 07 Oct 2011 a b c d e f Gale Matthew Pittura Metafisica Grove Art Online Oxford Art Online Oxford University Press Web a b c Cowling Elizabeth Mundy Jennifer 1990 On Classic Ground Picasso Leger de Chirico and the New Classicism 1910 1930 London Tate Gallery p 52 ISBN 1 85437 043 X Morandi Giorgio 1988 Morandi New York Rizzoli p 141 ISBN 0 8478 0930 7External links editGiorgio de Chirico The Spirits Released De Chirico and Metaphysical Perspective Retrieved from https en wikipedia org w index php title Metaphysical painting amp oldid 1204138547, wikipedia, wiki, book, books, library,
