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Старый 15.02.2009, 05:38 Язык оригинала: Русский       #1
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По умолчанию Exhibition Giorgio De Chirico in Paris

On Friday in the Municipal Museum of Modern Art in Paris has opened a retrospective of Giorgio De Chirico. I translated two articles.
The first - a rather impersonal and conformist views, but it contains interesting elements, was published in Le Figaro. The second, more interesting, was published in the newspaper Le Monde L1.


Mysterious Giorgio De Chirico

Le Figaro, 13.02.2009
Veronica Prat


He fascinated Apollinaire, Breton, Picasso, and Chagall. And in ten years critics denied in his work of any kind was dignity, and artists expelled him from its midst. Why such a turn of 180 °?
Exhibition in Paris trying to find a solution "secrets De Chirico"

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«If I had died at age 31, as sulfur, or 39, as Apollinaire, megodnya I would have considered one of the greatest artists of the century. You know what they say, these critics are idiots? What's most important Surrealist artist - it's me, Kiriko. Do not Dali, Magritte did not, not Delvaux. Ya. But Chirico died in 1978, in voschraste 90 years. And the irony of fate creative Giorgio De Chirico, who played with him a cruel joke, really gave him every reason to vent their bitterness and resentment.

He was born in 1988 in Volos (Thessaly). His father, sitsuilianets, was a construction engineer. His mother, a native of Genoa, she loved art. After the death of her husband in 1905, they moved to Munich. Giorgio joined the Academy of Fine Arts. One would assume that he was influenced by Kandinsky, who discovered abstract art, but no, most of all he was struck by the German romantic artist - Arnold Bocklin and Max Klinger, fantastic architectural elements in their paintings fascinated youthful Chirico. In music, it implies Wagner. In the literature - Nietzsche. "The novelty of this poet - wrote Chirico, - lies in its mysterious and lonely dreams - as if he were dreaming in svetny autumn day, when the shadows grow longer than in summer, as the sun rises is not that high. I wanted to express a strong feeling that was found in the books of Nietzsche. The logical consequence of these biases - after vozvryascheniya Chirico in Italy in 1909 on his first canvases depicted dramatic desert architectural ensembles, in which light is fighting with shadows. Sandwiched between fragmented geomertiey Cubists and stylistic revolution of abstract art, Chirico took refuge in fantasy, in a strange mskusstve had set himself to depict stopped time. In his "area of Italy" established equestrian monuments and statues in his paintings are always present arcade leading away into the distance to the horizon, shaded porches with strict lines, illuminated by golden light of the Mediterranean Sea. They reigns an atmosphere of emptiness, expectation, no. Soon, the new story - disturbing mannequins, armless and blind, the main characters of this painting, which he Chirico called "metaphysical". Linens 1914-1916, called "disturbing muses," Great metaphysician, proclaim alarming climate of "Castle" Kafka and Borges' labyrinth. Chirico at this time had not yet turned 30.

In Paris Surrealists, preispolnknnye enthusiasm, consider Chirico its forerunner. Their enthusiasm Bezmer, it is the surprise and delight with which they opened Chirico for themselves. Later, Chirico admitted that it was admiration for the Surrealists was not deceived: "When they saw my pictures, they decided to repeat with me their focus with customs Rousseau: the brilliant but naive artist, which Breton has taken under his wing. Few months I have them podigryval ... On Saturdays, from five to eight, we met with Apollinaire. There were Brancusi, Derain, who did not open his mouth, and Max Jacob, who spoke without umloku. On the walls hung works by Picasso, Marie Laurence, Cubists. Late, Apollinaire hung two or three of my canvas, including portrait, which I wrote with him. /famous prophetic portrait, where the temple of the poet depicts target - exactly in the place where he was wounded in the war. The Museum of Modern Art exhibited some ten studies showing the significance of this metaphysical period, including the undisputed masterpiece - "The Enigma of a day.

This period ended as suddenly as it began. Chirico and changed the subject, and form, he was caught in the paraphrase, repeating what has been stated, and the works exhibited in the halls of the past shows that he lost svyakoe critical sense in relation to his creativity.
He explained that once, in the summer of 1919, passed by Titian paintings on display at the Villa Borghese, he received the revelation of the great painting - he found the road to Damascus. From that day, he renounces his earlier works, attacks on contemporary art and calls for a return to the technique trecento and kvattrochento. His friends do not understand: Chirico, who wrote the dream, now speaks only of the traditions.
Surrealists, for whom anathematization was a favorite pastime, cursed him: "If he even tried to create the illusion of a lost genius, - says Breton - but making assiduous copy of his earlier works, he wants only one thing - to sell his painting is not one times, but two. As an artist can make fun of their own work? How can he offer buyers just written copies of his early works under the guise of the originals? Chirico replied to this with Olympian calm that he preferred his own copy of the product from the less gifted forgers. We are not trying at all costs to protect the "second manner" Chirico, but we must admit that during his wonderful first period he wrote several works of weak, but on protyazhnenii the second period, which is called "decadent", he managed to create two or three masterpieces, for example, "Prodigal Son". Because unlike Rambo, Chirico did not change profession. He remained an artist, and the question to be answered: Who is he, this Chirico, a brilliant creator, "metaphysician", or a mediocre imitator of himself? Those who love him, say that it is impossible to walk the streets of Turin without being reminded of his early work with endless nostalgia. Others will deplore the fact that in the 20 years he had not gone to Harare to trade slaves.
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Старый 15.02.2009, 05:40 Язык оригинала: Русский       #2
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По умолчанию

"Snobbery and dictatorship sellers paintings"

Le Monde, 07.02.2009

Philip Dazhan

In March, should go a new edition of Memoirs of De Chirico (1962). The artist tells of the main events of his life with zest denounces "this group of sloths and spoiled mama's sons, who pompously called themselves" Surrealists ".

The same lack of mercy and love of neighbor and his descriptions differ gallerists, critics and conservatives museums. For example, here is what he wrote about the crisis of 1929, virtually destroyed the market for art:

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«the only European country in which to keep an interest in painting, was Italy, because Italy - the only country in which there are still some people who sincerely love painting. I remember in 1931 I went to Milan to exhibit their paintings in the gallery Barbara. Almost all the exhibited works were sold, and this at a time, like all other European countries for more than half a century have been marred by snobbery and dictatorship, established art dealers. In Italy, were still people who bought paintings, not because of some good art dealer of "processed" and not because the author of these paintings has been well known and his works represent an excellent investment, quite simply because of those they liked. In Italy with me, something happened that could not happen in any other country in the world: Milan, one old maid told me that she had a small amount of money that she collected throughout her life, and that she wants to give it to me in exchange for the painting, which I agree to give her. I refused her money and gave her a picture /.../

De Chirico? Find his work for the exhibition - it is a real puzzle.
 
Whose work harder to collect for the exhibition, De Chirico and Picasso? In terms of Fabrice Ehrgott, director of the Paris Municipal Museum of Modern Art, and Jacqueline Mankiw, curator of the exhibition De Chirico, which opened in the Museum of 13th February, this question is not idle.
"The work of De Chirico's very difficult to obtain, museums do not want to part with works from their collections, private collectors have become more skittish.
Detail, talking about many things: the idea of showing this exhibition in museums abroad, had to be abandoned. Inscribed were very many. But the owners of the paintings that have agreed to part with them for four months, refused to give them to the museum for three months.

Generally, this behavior of owners of works of art seen in relation to all artists. More and more pronounced sentence: "This amount of work will never be able to collect on a show!". Insurance and freight costs do not simplify the work of organizing exhibitions, as well as the cost themselves exhibitions - the budget of the exhibition De Chirico - 1.1 million euros.

But the situation with the works of De Chirico's quite special, and it makes it more difficult efforts to complete the exhibition: his work is divided into two periods of different lengths, one of the periods of work immeasurably better known than the paintings of another. The first period of dazzling. It lasted from 1913 to the beginning of 20-h gg. This landscapes with deformirovanneoy perspective, tight still lifes. Already in 1914, Apollinaire sings the praises of their strangeness, and Breton declared De Chirico forerunner of surrealism.
Each of the canvases of this period is estimated at 20-30 million dollars. Convincing museums to lend these works are very difficult, because they are loved visitors. Nevertheless, at the Paris exhibition is about 20 works of this period, some of them in the words of Philip Ehrgott "had never before been exhibited." They provided the museums of Sao Paulo, Osaka, Stuttgart and London, as well as from private collections whose owners, except Schemeynoy Rothschild Collection in New York, wished to remain anonymous.

Universally admired earlier works by De Chirico opposed ugly reputation of his second period, which lasted from 1920-ies. until his death in 1978 During this period, the artist changed his style, imitating Raphael, Titian, Rubens and Courbet himself, he combines in his works elements of different styles and claimed benefits of art by old masters to modern art, enraging Breton , Aragon, Eluard, who unashamedly cover the mud of the "renegade chief modernity.

Many art historians have divided views of the Surrealists. In 1983, the last De Chirico retrospective in France, were shown to work before 1920, however, Philip Ehrgott said he "can not believe that the artist is such an incredible creative energy can suddenly become completely insignificant." One of his arguments - to change attitudes to creativity De Chirico in the last decade.

But here is the problem: the most important works of this period are not in museums - which did not want to buy them - and in private collections. I had to find these meetings. "We have restored the chain: one collector calls another and so on. Just look catalog: proceedings of the second period, except for the canvases, lent by the Fund, Giorgio and Isa de Chirico, in Rome and come exclusively from private collections, and the catalog does not mention any names of collectors, or even the location of collections.

The owners of the paintings from the exhibition organizers demanded the strictest anonymity. Museum staff have never met them. They do not know neither their names nor their addresses ... The role of the facilitator took the Foundation De Chirico. Edinstvenenaya available information - among these collectors many Italians - this was not difficult to guess, because De Kiirko became a legend in Italy. It is easy to imagine the palaces - from Milan to Rome - with a luxurious interior in which hang his work.

The result of all this activity is surprising: "The private collectors, we found some incredible things - tells Philip Ehrgott - I could not imagine what, no one will never seen again. For example, "Venetian Capriccio" - just fantastic! ". "Yes, this is phenomenal" - Jacqueline Mankiw echoes him, stating that the size of this work - 2,5 to 3,5 m.

Such findings have further compounded ituatsiyu: Some museums and private collectors, who have promised to lend the work of the first period, did not agree that their belongings were hung next to canvases of the second period, for nizh unacceptable. Ehrgott said that they still have all of the promised pictures. "But we can say that, having learned of our decision, those who promised to give us work for the exhibition, began to behave less favorably. They did not understand our choice. They can understand: some of the works of the second period is simply a challenge to established artistic tastes. De Chirico was totally indifferent to the opinion of others. In his work there is an element of madness, but his legacy is a puzzle - not to say trap or even a series of traps. In retrospect, at the Museum of the Modern Art collected 170 of these traps.


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Старый 15.02.2009, 05:43 Язык оригинала: Русский       #3
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And now I'm going to bed, you finally quoting De Chirico, who in his book, entitled them to "Mr. Dyudron" wrote: «And now, dear reader, or dear reader, by now, rows go to sleep. He was tired, the time is late, almost an hour after midnight. He would go to sleep and not wake up before noon, he always liked a lot of sleep, and it is quite natural: how often repeated Arthur Schopenhauer, brilliant people need a long dream ».
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Старый 15.02.2009, 20:58 Язык оригинала: Русский       #4
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Terribly intrigued. And you yourself have not seen this exhibition?



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Старый 15.02.2009, 22:23 Язык оригинала: Русский       #5
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terribly intrigued. And you yourself have not seen this exhibition?
I myself intrigued, as the second period Chirico know little weak (konyashki were "decadent). But the exhibition will go later, after the excitement settles down.



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Старый 16.02.2009, 12:11 Язык оригинала: Русский       #6
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LCR, you're not like the Surrealists? but for this story about de Chirico express to you my deepest respect)
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До меня мир рисовали таким, как его видят. Я рисую так, как его мыслю. (с) Пикассо.



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Старый 16.02.2009, 12:39 Язык оригинала: Русский       #7
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LCR, you're not like the Surrealists? but for this story about de Chirico express to you my deepest respect)
I really can not stand the surrealists (Magritte - illustrations with him, let him live, but everyone else quickly turned into a building manager).
But Chirico, thank you, Lord, do not surrealist, but the artist, feel the difference?



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Старый 16.02.2009, 12:52 Язык оригинала: Русский       #8
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But Chirico, thank you, Lord, do not surrealist, but the artist, feel the difference?
will not start))
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До меня мир рисовали таким, как его видят. Я рисую так, как его мыслю. (с) Пикассо.



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Старый 16.02.2009, 21:42 Язык оригинала: Русский       #9
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will not start))
  Yes, you first need to see the exhibition, and only then ...



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Старый 16.02.2009, 22:18 Язык оригинала: Русский       #10
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Yes, you first need to see the exhibition, and only then ...
What to watch, all the long view

Surrealists for soap!



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