Exhibition Giorgio De Chirico in Paris

[Art-lover]

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Max Ernst. "Meeting Friends" 1922-23, the

Idyllic period Union Surrealists and metaphysicians. De Chirico - second from right in the top row, next to Galoy Eluard. Among the authorities of surrealism in the picture there are also Dostoevsky and Raphael.

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does not disconnect the paintings of de Chirico's mood, from which it emanates. But in order to evaluate the whole package, not necessarily, and perhaps quite useless - not to mention the ethical side of things - misinterpret the context of this creativity.

It is even possible to disconnect. To assess the mood of paintings by de Chirico's metaphysical period, must be born with the ability to experience such feelings. To appreciate art, one must understand the painting. Any number of people not pulling one or the other - or both, and another. But good painting - it was just a miracle, but the mood of de Chirico painting 1908-1918gg - miracle of rare, startling.

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And if we appreciate the whole set in its own juice, ie in the context of de Chirico's art - which can be restored by the artist's statements and documents of the period - especially since we have nothing to reproach protosyurrealistov who have been under the pernicious influence of the surrealists Chirico's paintings of the first period.

"We must not forget that the picture should always be an expression of deep feelings and that deeper meaning strange, but strange unknown means and unknown. To make a work of art was immortal, it is necessary that it went beyond the limits of human , where no common sense and logic. Thus, it is close to sleep and dreaming child " - that's an aesthetic credo of creativity de Chirico at the time.
The basis of metaphysical painting - the simultaneous feeling of closeness and sense of being unreachable, the unfathomable mystery of each thing in the world («The world is full of demons, to uncover all things demonic»), the idea of the illusory nature of the real world and Schopenhauer's idea of the reality of dreams. Yes, there is a mixture of a lot of different thoughts and impressions of individual and complexes of personal character - but it is very few people then and today, it would be interesting, if not famous unreal, "surreal" paintings by de Chirico mood, increased their no less surreal absurdism.
  
We surrealism and metaphysical painting a common root - de Chirico. There would be de Chirico, perhaps there would have been surreal. Hence the "War of Spanish Succession, unfolded, when de Chirico and leaders of the surrealist movement beat pots. But with regard to de Chirico's paintings of the first period - from the surrealists simply had no reason to falsify their context.

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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.

Dear LCR, your Surrealists - a devil from a snuffbox, which are doing what you are ordered to. And you order a them to be the worst enemies of mankind.
Seriously, the Surrealists, IMHO - is harmful abstraction. There was "Surrealists in general." There were separate entities, in certain periods of their lives associated to a very different footing with the myth of surrealism or foolish Society of the Surrealists, from which not only drove Jora-enigmatika, but the main paranoid Salvatore.

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Each of the interested parties submitted to the court the history of their own versions of events.
Breton claimed that with de Chirico, he quarreled because of the fact that he abandoned his "metaphysical" debut and became a salesman in the art. Late surrealists could not forgive de Chirico conformism towards fascism. (It is known that Mussolini shared commitment of late de Chirico to the neo-classical - favorite style of all dictators, and that Chirico portrayed Mussolini and his family).
Himself an artist later introducing the reason for the gap that he could not tolerate the dictates of society Surrealists - that "international gang of papa's sons, bums, onanist, degenerates, hysterical, snobs and idiots."

Adoption Breton for the commercialization of de Chirico was not unreasonable. Not added artist glory postwar forgery scandal when it emerged that De Chirico industrial-scale rubber-stamp his early metaphysical things, giving them to collectors for the very first versions.
But the commercialism of the other Surrealists (and especially "Mr. Dollar" - Dali) also showed outstanding skill.

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Chirico himself emphasized that for him painting must necessarily be in the nature of revelation, and contrasted the nature of this technical search, which aim to create a visual sensation.

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Returning to the mood, other artists are able to create something similar means, is even less susceptible surreal" treatment "- see Hopper

... that confirms my premise: the best surrealists does not need to be surrealistic techniques and theories. The mood of alienation and hopeless, almost metaphysical loneliness of Hopper's paintings brings him to de Chirico. In the latter, all the phenomena of the world alone and separated in principle: not only because this is the intuitive and poetic mood of the artist, but also because of his intellectual doctrine. Hopper also was by nature a very lonely, uncommunicative perfect entity, it does not sink deeply into metaphysics, and created his own poetic version of realism, that criticism is not without reason, in my opinion, referred to as magic realism.
By the way, what a surreal "processing"? I guess that pereviranie.

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Chirico denied the importance of the subject and emphasized his originality with respect to the Symbolists ( "Notes de Chirico »).

And in this he differed from many of the Surrealists.

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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».

Cocteau did not understand. Secret lives only in the depths. Its presence can be felt, genius can convey this feeling - no more. Pulled to the surface can only superficial things.

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At the same time, Cocteau did not consider de Chirico descriptor dreams

Fixation dreams - not an end in itself, and technique used in psychoanalysis at a certain stage of self-knowledge. Transfer of dreams do not have the special task of art, and only the ignorant think otherwise. "Onirichesky for talented artists did not mean" transmitting a dream ", and" the atmosphere of sleep. "

(LCR, you know how to ask people to work)