Chirico himself emphasized that his painting should necessarily be in the nature of revelation, and contrasted the nature of this technical search, which aim to create a visual sensation. Chirico denied the importance of the subject and emphasized his originality with respect to the Symbolists (Notes de Chirico).
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Surrealists consciously - and conscientiously - glossed over the text of de Chirico, contradicted their interpretation of his work.
Artists, aims to show the mysterious nature of things, which was considered to be minor, they presented the world the fantastic researcher and onirizma; the one who embodied in his philosophical razmyshlniya deliberate transformation of the space, they declared a model of the subconscious and automatic in the arts, people, passionately attached to the art of ancient Greece and Rome, these sworn enemies of any mention of classical antiquity, made a beacon of surrealism. Therefore we can assume that betrayed de Chirico anathema to the big bang (this is how Raymond Keno, a remarkable French writer, classified art de Chirico: "His work is divided into two periods: the first and the bad), they got rid of the witness of their manipulation.
Interestingly, Apollinaire not immediately appreciated the work of de Chirico. He changed his attitude to such difficult artists classified as a customs Rousseau, under the influence of Delaunay Raoul. Yielding to the charms of Rousseau, Apollinaire away from the dogmas of modern painting, which enabled him to become sensitive to other "unusual" artists - Chirico and Chagall.
In painting Chirico Apollinaire liked exactly what he accused the Futurists: this "painting, such dreams", had nothing to do with plastic search based on kontrestah shape and color, and moreover, it was close to "dangerous" concept "of the soul .
Here's what Jean Cocteau (feeble creator, but a shrewd critic and part-time sworn enemy of the surrealists) writes about surrealism:
"Portraying a dream, today's artists as wrong as they are wrong, depicting the machine in 1916," "Art of the Impressionists, devoid of mystery, was boring; today's painting is disappointing, because it makes all the secrets to the surface."
At the same time, Cocteau did not consider de Chirico descriptor dreams. The main feature in the works of de Chirico - his fatalism: "All the prospects of de Chirico - this fall."
Another important characteristic of de Chirico - it is the metaphysics of objects: "De Chirico shows us the reality, pulling it out of the ordinary. Amazing circumstances in which he puts the building, an egg, a rubber glove, a plaster head, removed from reality apron habits. His subjects are falling on our heads, like an airplane on the savages, and acquire the greatness of god "...
And finally: "De Chirico was an artist of mystery. Riddle was his model. And as he painted it with great similarity, it was efficacious. But he became even more enigmatic LARGE since he gave up the image of riddles. We can assume that he himself was a mystery. This question takes me very much.
Without any communication - reading Cocteau, I came across the following paragraph: «De Chirico and Savino (writer Alberto Savino - brother of Giorgio de Chirico), now in Rome, the home of their mother. A. told me that Ms. Chirico at parting with a huge sack full of jewels, intended to pay for anti-communist revolution in Russia - it is Russian emigre. She is convinced that it will topple Stalin and take his place, and then de Chirico become a court painter ».
That funny?