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Painted in Paris on the eve of World War One, the Metaphysical cityscapes of Giorgio de Chirico (1888-1978) redirected the course of modernist painting and the modern architectural imagination alike. Giorgio de Chirico and the Metaphysical City examines the two most salient dimensions of the artist’s early imagery: its representations of architectural space and its sustained engagement with the philosophy of Friedrich Nietzsche.  Centering upon a single painting from 1914 – deemed by the painter “the fatal year” – each chapter examines why and how de Chirico’s self-declared “Nietzschean method” takes architecture as its pictorial means and metaphor. The first, full-length study in English to focus on the painter’s seminal work from pre-war Paris, the book places de Chirico’s “literary” images back in the context of the city’s avant-garde, particularly the circle of Guillaume Apollinaire.  Merjian’s study sheds light on one of the most influential and least understood figures in 20th-century aesthetics, while also contributing to an understanding of Nietzsche’s paradoxical consequences for modernism.

Fin dagli inizi del suo percorso artistico, Giorgio de Chirico stabilì che la sua pittura avrebbe dovuto «far vedere ciò che non si può vedere», poiché non aveva senso rappresentare le cose come già possiamo vederle in natura. Non a caso Magritte, quando nel 1925 si imbatté per la prima volta nella pittura di De Chirico, disse che gli aveva dato la sensazione di poter «vedere il pensiero». Celebri artisti e poeti, come Guillaume Apollinaire e André Breton, si riconobbero immediatamente nella sua enigmatica visione del mondo e in quella rappresentazione delle cose lucida e penetrante. Si apriva così la strada a tutti i movimenti che hanno costituito la parte più vitale dell'arte europea tra le due guerre: il dada, il surrealismo, il realismo magico, il neoromanticismo. La mostra riunisce alcuni tra i più celebri quadri del periodo metafisico di De Chirico, dipinti metafisici di Carrà, nature morte di Morandi, capolavori di René Magritte, Max Ernst e Balthus, accompagnati

Catalog of an exhibition held in Florence at the Palazzo Strozzi, 26 February - 18 July 2010. Includes 14 illustrated essays and 101 plates.

The first overview in decades of the eerie allegories of de Chirico, forefather of surrealism and genius of uncanny connectionsGiorgio de Chirico began to develop his Pittura Metafisica, or Metaphysical Painting, around 1911, painting brooding, dreamy scenes of depopulated landscapes filled with incongruous objects. But though this is the work de Chirico is best known for, his Metaphysical Painting period lasted only until 1919, and he remained prolific and experimental throughout his entire long life (trying out, for example, a Return to Order and a Rubens-inspired neobaroque style). In Giorgio de Chirico: The Changing Face of Metaphysical Art, the first de Chirico overview in more than 20 years, scholar Victoria Noel-Johnson explores the artist’s entire, complex career and proposes a cohesive logic within its diversity. Organizing the artist’s works thematically and reading them through the Nietzschean philosophy to which the artist was famously devoted, Noel-Johnson argues that despite de Chirico’s many changes in style, technique, subject, composition and tone over the course of six decades, all of his works offer tangible visions of intangible philosophical concepts. Richly illustrated, this volume features works drawn from the artist’s foundation and some of the most prestigious museums and collections in Italy, presented alongside a rich core of archival documents including letters and period photographs. Italian artist, writer and proto-surrealist Giorgio de Chirico (1888–1978) began to develop his Pittura Metafisica after traveling in Milan, Florence and Turin between 1909 and 1911, where he was inspired by the bright Mediterranean light, sun-drenched piazzas and receding arcades―elements that would become essential visual motifs in his best-known works.

Faint shadow of a fold on top front corner, Very slight damage to tip of bottom front corner. Interior perfect. De Chirico in Paris 1911-1915, Italian Art Theory 1915-1920, Modernism, Theater, Realism of the Twenties, Surrealists. No International or Priority.

Highlights the artist's first visit to America and includes work he rendered during his stay in New York.

Surveys the style, inspiration, and works of the metaphysical painter De Chirico

Fin dagli inizi del suo percorso artistico, Giorgio de Chirico stabilì che la sua pittura avrebbe dovuto «far vedere ciò che non si può vedere», poiché non aveva senso rappresentare le cose come già possiamo vederle in natura. Non a caso Magritte, quando nel 1925 si imbatté per la prima volta nella pittura di De Chirico, disse che gli aveva dato la sensazione di poter «vedere il pensiero». Celebri artisti e poeti, come Guillaume Apollinaire e André Breton, si riconobbero immediatamente nella sua enigmatica visione del mondo e in quella rappresentazione delle cose lucida e penetrante. Si apriva così la strada a tutti i movimenti che hanno costituito la parte più vitale dell'arte europea tra le due guerre: il dada, il surrealismo, il realismo magico, il neoromanticismo. La mostra riunisce alcuni tra i più celebri quadri del periodo metafisico di De Chirico, dipinti metafisici di Carrà, nature morte di Morandi, capolavori di René Magritte, Max Ernst e Balthus, accompagnati

De Chirico: The Metaphysical Period is the most authoritative source on the formative years and period of greatest achievement in the career of Giorgio de Chirico, one of the masters of twentieth-century art.Beginning around 1909, Giorgio de Chirico projected in his paintings an irrational, dreamlike world of empty classical cityscapes populated by statues, shadows, and familiar objects isolated or mysteriously juxtaposed. This Metaphysical Painting, as he called it, was seized on by the Surrealists in the 1920s and has continued to haunt our imagination. Paolo Baldacci's monograph reveals the many biographical elements of de Chirico's mysterious work, devoting particular attention to his most critically acclaimed period, 1909-19.

The Greek-born Italian painter Giorgio de Chirico (1888-1978) was a master of metaphysical painting. His fusion of fantastic and dream imagery with object from everyday experience creates a surreal, sometimes disturbing landscape. This fully illustrated catalogue, published on the occasion of an important exhibition in Italy, presents de Chirico's work in relation to the world and myths of classical antiquity.In 1919 in Rome, de Chirico discovered a neoclassical calling that appears in his subsequent work in his use of perspective, statuary and other objects, and classical characters. This scholarly work discusses de Chirico's neoclassical aesthetic as it contributes to his original metaphysical philosophy.

De Chirico: The Metaphysical Period is the most authoritative source on the formative years and period of greatest achievement in the career of Giorgio de Chirico, one of the masters of twentieth-century art.Beginning around 1909, Giorgio de Chirico projected in his paintings an irrational, dreamlike world of empty classical cityscapes populated by statues, shadows, and familiar objects isolated or mysteriously juxtaposed. This Metaphysical Painting, as he called it, was seized on by the Surrealists in the 1920s and has continued to haunt our imagination. Paolo Baldacci's monograph reveals the many biographical elements of de Chirico's mysterious work, devoting particular attention to his most critically acclaimed period, 1909-19.

Near Fine hardcover in a Near Fine dust jacket. Overall a bright and attractive copy, as new. Color plates and b&w illustrations.158 pp.

Opera con copertina morbida in brossura. 367 p. : ill. in b/n e a colori ft e nt ; 32 cm Mostra tenuta a Milano nel 2019-2020 In testa al frontespizio: Palazzo Reale. ARC.2.

illustrated wraps w/ white printing. 303 pgs w/ illustrations. In Italian. translated contents as follows: De Chirico's painting is a new vision, in which the spectator finds his isolation and understands the silence of the world René Magritte Starting from the autumn of 2015 the Ferrara Arte Foundation and the Staatsgalerie of Stuttgart, in collaboration with the Archive of the Metaphysical Art, will present an important exhibition which intends to revive, on the occasion of the centenary of the arrival of Giorgio de Chirico in Ferrara, the birth and development of metaphysical painting and the effects that the works created by the artist between 1915 and 1918 in the Este city they had on contemporary Italian art and on European avant-gardes such as Dadaism, surrealism and the New Objectivity. When Italy entered the First World War, De Chirico and his brother Alberto Savinio left Paris, joined the Italian army and, at the end of June 1915, were sent to Ferrara to perform military service. The stay in Ferrara brought about profound changes compared to the previous period, both in the way of painting and in the themes that inspired his masterpieces. 00Exhibition: Palazzo dei Diamanti, Ferrara, Italy.

Unread book in perfect condition.

Hardback 1st Edition 2017 English, Italian

Some minor sumdges to the rear cover otherwise very good.

Gut/Very good: Buch bzw. Schutzumschlag mit wenigen Gebrauchsspuren an Einband, Schutzumschlag oder Seiten. / Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages.

Cover and edges may have some wear.

No Italian painter of this century has aroused so much comment, from eulogy to outright condemnation, as Giorgio de Chirico (1888-1978). One of the initiators of surrealism, he is a key figure in modern art; his influence on later painters, particularly during his "metaphysical" period, is second only to Picasso's. De Chirico relied on imagery from the unconscious to create art with mythological, philosophical, and historical overtones. De Chirico began to write as soon as he began to paint - his painting was complemented by his writing. John Ashbery has called his novel "Hebdomeros" the finest of the surrealist novels; his poems, articles, essays, criticism and metaphysical writings are insightful. His memoirs belong to the great tradition of Italian autobiography, as vivid as those of Benvenuto Cellini and Vittorio Alfieri. Like those writers, de Chirico told his life story in a vein of militant egocentricity, rich in imagination and imagery. The self-portrait that emerges is a projection of the obsessions and inner conflicts of an artist who, gradually insulating himself from crumbling values, became convinced of his own creative supremacy at the centre of the universe. This edition comprises both volumes of the "Memoirs", along with "The Technique of Painting", a chronological table, and a bibliography of his writings.