Exhibition Giorgio De Chirico in Paris

[IrinaC]

Сообщение от Munch

I also do not quite understand why from de Chirico moved to surrealist. As far as I know in the vanguard of the historical period, he was the creator of the so-called "metaphysical school" and refused to exhibit with the Surrealists, despite the fact that they regarded him as his predecessor. Unlike syurov de Chirico in his paintings are not passed to the image of an irrational world. He developed a special form-building tool, through which it tried to express modernity - the state and mood of modern society. This is especially clear at a late stage of his system (mean metaphysical period), when instead of people in his paintings appear mannequins with ovoid heads, devoid of features, but in communication and movement. These creatures from de Chirico - symbols of certain moral state of modern man. His work - not only mysticism (which of course was his admission), but also psychology. Painting "Prodigal Son", "Duet" - one of them. I have no album de Chirico, so unfortunately, can not now something to attach. The conclusion is: in the paintings of de Chirico occurs parallel reality with which he symbolically describes the natural world, gives him his assessment. No communication with the system of surrealism, where the only true and real peace is the subconscious, there is not yet in sight.
Metaphysical School was short-lived, because the students have not been de Chirico, and he soon abandoned his principles. Carlo Carra and Magritte - his followers. Not accidentally Nana, loving de Chirico, Magritte and also bestow. I love de Chirico, because in his metaphysics lot of symbolism, but symbolism - my favorite system.

Munch, I am interested in a group of words: metaphysical painting, mysticism, psychology, parallel reality, irrationalism

Boundary such vague and can travel freely to and fro.

  "As a speculative art, metaphysical painting has no points of contact and does not give a clue as to what is shown."
"The painters of the metaphysical also sought to create a magical atmosphere of sleep."


How do you determine that these "heads" are rational and a parallel reality, but these are irrational and out of sleep.

And whether a rational parallel reality?
: confused:

[Мунк]

Сообщение от IrinaC

Munch, I am interested in a group of words: metaphysical painting, mysticism, psychology, parallel reality, irrationalism

Boundary such vague and can travel freely to and fro.

  "As a speculative art, metaphysical painting has no points of contact and does not give a clue as to what is shown."
"The painters of the metaphysical also sought to create a magical atmosphere of sleep."


How do you determine that these "heads" are rational and a parallel reality, but these are irrational and out of sleep.

And whether a rational parallel reality?
: confused:

Sorry, You do not quote me? Words can have many contexts. The word metaphysical can hide a multitude of different connotations - it is necessary to ask the authors of those phrases that you have.

[IrinaC]

Сообщение от Munch

Sorry, You do not quote me? Words can have many contexts. The word metaphysical can hide a multitude of different connotations - it is necessary to ask the authors of those phrases that you have.

Phrases from the encyclopedia. I can not ask the authors. The only thing that I wanted to know how you personally do to differentiate, where the dream, and where a parallel reality, which in one case, a rational and irrational in another case. But if you do not want to answer, then do not.

[Art-lover]

Сообщение от Munch

I also do not quite understand why from de Chirico moved to surrealist. As far as I know in the vanguard of the historical period, he was the creator of the so-called "metaphysical school" and refused to exhibit with the Surrealists, despite the fact that they regarded him as his predecessor. Unlike syurov de Chirico in his paintings are not passed to the image of an irrational world. ...
His work - not only mysticism (which of course was his admission), but also psychology.
...
The conclusion is: in the paintings of de Chirico occurs parallel reality with which he symbolically describes the natural world, gives him his assessment. No communication with the system of surrealism, where the only true and real peace is the subconscious, there is not yet in sight.
Carlo Carra and Magritte - his followers. Not accidentally Nana, loving de Chirico, Magritte and also bestow. I love de Chirico, because in his metaphysics lot of symbolism, but symbolism - my favorite system.

Munch, and still refer to surrealism next to the name Chirico is not a sin.
In the 1920s De Chirico actively communicated with the Surrealists and exhibited with them and with their assistance.

In March 1922, Paul William (Marshal of the artist), along with Andre Breton (leader of the surrealists), are organizing the exhibition, which presented 55 canvases.
In 1924 de Chirico was solemnly adopted by the union of the Surrealists.
In the first group exhibition surrealist painters in 1925 in a Paris gallery, Pierre attended by de Chirico, Arp, Picasso, Klee, Ernst, Masson, Miro.
Serious conflict with the Surrealists broke out in de Kirriko in 1926 De Chirico at that time began to criticize the "metaphysical" paintings, and more work in the style of academic art. The final break of relations Surrealists and de Chirico occurred in 1929.
Since that time, de Chirico's works of classical calm manner (later called "neo-classical"), occasionally returning to the metaphysical painting.

Portfolio de Chirico's metaphysical period had a profound influence on the Surrealists, not because of any formal association, but because of common roots and kinship deep motives "metaphysical school" and surrealism.
Like Surrealism, Metaphysics de Chirico was formed under the influence of a major German Romantics, the Symbolists and Nietzsche and Schopenhauer, and de Chirico and Surrealists took a sense of mystery, secrecy, mistichnochti world, the presence of a deeper reality disguised by external appearances.

"I can not imagine the art of another. Thought must break away from what we call logic and meaning, free from all human attachments, to see things in a new light, highlight them previously unknown features of"

- Behind these words de Chirico could subscribe to all the surrealists. Thus, de Chirico, as the surrealists, took the image of the irrational.
We can not agree with the fact that de Chirico "symbolically describes the natural world, gives him his assessment." Passion Symbolists - Bocklin and Klinger - refers to dometafizicheskomu period of de Chirico. By 1911-1913 gg. De Chirico inspired by a different:

"Frequency entrainment Bocklin passed. I began to paint, which could express the powerful and mystical sense, which opened to me when reading Nietzsche."

Here is a mystical sense, masterfully depicts de Chirico and was the main thing that attracted him as a mystical-minded surrealists. Mysticism was not in de Chirico's "trick" - it was the essence of his worldview. De Chirico did not characterize the world around us: metaphysical painting was based on the absolute denial of reality, which depicted realism. The space of sleep, the space of the subconscious - these are the spaces where the mystical experience can occur especially freely, without censorship of rationality and cargo rough appearance.
Also wrong to assert that for the Surrealists "the only true and real peace is the subconscious." Surrealists recognized the reality of the world given to us empirically, their policy objective was the synthesis of both realities.

Symbolically, what Apollinaire, the godfather of poetic surrealism, the first pictures of de Chirico called "metaphysical painting.

Like Liana, I appreciate the excellent de Chirico painting like the surrealists, I love him for the deep and strange mood, which he expressed this painting.

[Мунк]

Сообщение от Art-lover

Munch, and still refer to surrealism next to the name Chirico is not a sin ..

Of course, not a sin if he was "protosyurrealistom. Just any information given at a certain angle of view. Your angle - this is surreal. And my - the one that de Chirico - detached artist who has created a special school. If we contact you about the same, so much the better.

Сообщение от Art-lover

[In the 1920s De Chirico actively communicated with the Surrealists and exhibited with them and with their assistance.
In March 1922, Paul William (Marshal thin ozhnika), along with Andre Breton (the leader of the surrealists), are organizing the exhibition, which presented 55 paintings hudozhnika.V 1924 de Chirico was formally adopted by the union of the Surrealists.
In the first group exhibition surrealist painters in 1925 in a Paris gallery, Pierre attended by de Chirico, Arp, Picasso, Klee, Ernst, Masson, Miro. ..

In 1922, Breton was officially Dadaists, rather than surrealist. This is important. And the first Surrealist exhibition in 1925 consisted of former Dadaists.

Сообщение от Art-lover

Works de Chirico's metaphysical period had a profound influence on the Surrealists, not because of any formal association, but because of common roots and kinship deep motives "metaphysical school" and surrealism.
Like Surrealism, Metaphysics de Chirico was formed under the influence of a major German Romantics, the Symbolists and Nietzsche and Schopenhauer, and de Chirico and Surrealists took a sense of mystery, mysteries, mystical world, the presence of a deeper reality disguised by external appearances. ..

The formal influence of de Chirico was strong (Ernst, Tanguy, Magritte, Dali). With regard to the ideological content of surrealism, it is important not to limit it just a mystery, mysticism and the world of dreams. Although you about it, probably did not intend to speak here.

Сообщение от Art-lover

can not agree with the fact that de Chirico "symbolically describes the natural world, gives him his assessment." Passion Symbolists - Bocklin and Klinger - refers to dometafizicheskomu period of de Chirico. By 1911-1913 gg. de Chirico has inspired others. .. De Chirico did not characterize the world around us: metaphysical painting was based on the absolute denial of reality, which depicted realism. ..

Here I have my own strong opinion, to prove his need to analyze the work, but this is beyond the scope of the forum. In de Chirico were other characters, not like Beklin and Klinger.

Сообщение от Art-lover

Wrong also be argued that for the Surrealists "the only true and real peace is the subconscious." Surrealists recognized the reality of the world given to us empirically, their policy objective was the synthesis of both realities ...

Well, then explain what's behind your words and how they implement their policy objective synthesis. Do not you start with the fact that they denied the outside world with its logical connections and cultural contexts as untrue? Well, this is already becoming scholasticism.

[Art-lover]

Сообщение от Munch

In 1922, Breton was officially Dadaists, rather than surrealist. This is important. And the first Surrealist exhibition in 1925 consisted of former Dadaist

The formation of surrealism occurred not after, but in parallel with Dadaism. The phrase "surreal drama" consumed Apollinaire in 1917. "Magnetic Fields" A. Breton and F. Soupault - the first - by Breton - actually surreal piece was created in 1920. In 1922 there was a break with the Surrealists Dadaists. Naturally, the personnel of the new flow consisted of former members of the various old flows.

The formal influence of de Chirico was strong (Ernst, Tanguy, Magritte, Dali). With regard to the ideological content of surrealism, it is important not to limit it just a mystery, mysticism and the world of dreams. Although you about it, probably did not intend to speak here

Here - I was not asked

I de Chirico were other characters, not like Beklin and Klinger

Sure. I stressed that the art system de Chirico, including a built in its symbolism, was a mystical background.

On the rest - a message in "Surrealism".

[LCR]

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?

[qwerty]

Сообщение от LCR

It is interesting that 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.[/SPOILER]

This is the Delaunay to Robert, or anyone else whom I do not know?

[fross]

Сообщение от qwerty

This is the Delaunay to Robert, or anyone else whom I do not know?

I suppose that to the creation of Robert Delaunay (and we certainly talked about it) LCR does not feel any warm feelings. Usually with the name or names of such artists in its text must occur metamorphosis.

[LCR]

Сообщение от qwerty

This is the Delaunay to Robert, or anyone else whom I do not know?

Yes, yes, yes, it is the same, you know, he simply tried to disguise

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Сообщение от fross

Can we assume that the creativity of Robert Delaunay (and we certainly talked about it) LCR does not feel any warm feelings. Usually with the name or names of such artists in its text must occur metamorphosis .

Ha! I also tried to disguise themselves, but a shrewd Frosya saw through me: No, I really do not harbor any affection for simultanistu, despite its positive promotion of some naive artists: shy:

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Сообщение от Art-lover

Munch

Like Liana, I appreciate the excellent de Chirico painting like the surrealists, I love him for the deep and strange mood, which he expressed this painting.

My dear friend, it is impossible to disconnect the de Chirico painting on the 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 art.

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