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.

Сообщение от LCR

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)

[LCR]

Сообщение от Art-lover

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.

No, Amateur, disagreed. I repeat: unplug the painting of sentiment is impossible, because the mood is not introduced from outside, but is created by means of painting. Here's how assimiliruete it will transfer you to the professionals

Сообщение от Art-lover

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.

Nobody knows, sir, but, as I wrote you Chirico, sweeten your life 2 Russian wives (not simultaneously, but nevertheless) was apparently significant two dolt, each of which prhodilos no more than a half - Russian wives, not to mention the rest trusties (quote! all claims to Kiriko!), completely devoid of even the most zavalyaschenkih Russian wives, when this stuff in Paris was in bulk: shy:
Of course, was there some poluenkavedeshnaya Madame Aragon, but it is unclear whether it falls into the category of Russian women - in fact in this pair of pants she wore.

Сообщение от Art-lover

But 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.

Zhorik no one was driving, he refused to join, and sent them into all sorts of different places, and your paranoid driven by a completely separate article - for amoralku, I would say even for a double amoralku: when he hit Chicken (do not think that I am Egeria surrealism without due respect, I just translated her name into the native language of the hero), then Eluard banged it in theirs politburo or how it happen to them called - yes, as in the past his wife wrote in the party organization, the husband - Communist, for example, refuses to perform his marital obligations, or executes them, pardon the expression, on the side - and this is where the real world, which they theoretically squeamish, told of their rights: erring barbel was summoned to elaborate, accusing him of sexual promiscuity and - For greater gravitas - a pro-Hitler sympathies.
If your gentleman confessed, as it usually did not (or over) zealous husband, a Communist, and vozvernul bird its rightful owner, he would probably just at the very least a reprimand would be recorded in a personal matter. But when, in response to a well-deserved reproaches he began to undress, and showed them his ass naked, embarrassed by his improper conduct surrealist (no shit they are not hardened Dadaist shocking past), nothing else to do but vyperet unscrupulous Iberians.

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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).

Yeah, fraternizing with the Chirico family Duce could not have caused any endorsement of the virtuous among the teams, from morning till night to lick any place to Stalin and other Communists and praises the exploits of the NKVD, that's for sure!

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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.

Let us restore the historical truth: the gift of foresight was at Chirico, Breton did not have (see the famous story with a portrait of Apollinaire), and refer to the post-war scandals, to explain the quarrel could only prewar Surrealist - as evidence of his complete contempt for reality.

Сообщение от Art-lover

... 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.

But who are these "best surrealists? The fact that you have to look for them outside the group and among men who denied any involvement in the movement, best and shows slightly viability of this movement.

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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.

What you say, just proves the correctness of Cocteau - because you perefraziruete his words: pulling out the secret to the surface, it inoperative.

Сообщение от Art-lover

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

And what if not? But this I wash its hands of the debate, the doctor forbade me to think too much - in my head, he said, fragile, and it needs gentle treatment.

[Art-lover]

Сообщение от LCR

Quote: Originally Posted by Art-lover: (LCR, you know how to ask people to work)

And what if not? But this I wash its hands of the debate, the doctor forbade me to think too much - in my head, he said, fragile, and it needs gentle treatment.

Madam, let us agree on two things:
1. We assume this is not a debate, and conversation. Otherwise, will that, in response, I try to take advantage of the opponent's fatigue to leave the last word to him.
2. You read further - since to be fun - no sooner than let the doctor.

So, hide notes unpretentious lover of tired eyes Profi

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Сообщение от LCR

I repeat: unplug the painting of sentiment is impossible, because the mood is not introduced from without, but is created by means of painting. Here's how assimiliruete it will transfer you to the Professional

I'm afraid that I never become a Major: difficult for me given the assimilation school truisms.
I am dearer to dissimilation. This is the aspect of metabolism, which is responsible for the release of vital energy, we have borrowed from the world and necrosis in the process of assimilation.
Truism - a storehouse of stored energy - the energy of delusion, which is partially relieved at their overthrow. For example, 1 1=2. This truth is not enthusiastic. But how much happiness brings first discovery that 1 1 = 1 (two drops to merge into one), or 1 1 = 3 (pair, which has had a child), etc. Alas, surprisingly soon passes, and new discoveries themselves acquire balnosti flavor.
This is in order digression.

The fact that the mood of every picture is created by means of painting - not a cause for dispute.
Where interesting question, where is the mood there came from, and that forces us to assert that it is there at all. In this matter, at least two aspects - creative and perceptive.
In terms of creation - to express something on the canvas, we should already have is something in the soul or mind. I wish - consciously or unconsciously - to express precisely this condition, feeling, mood. What is particularly evident when a mood is a leitmotif of many paintings by the artist. Different pictures can be used with different painting tools - composition, colors, shapes - for the expression of the same dominant mood.
In terms of the same perception - the audience simply does not understand now, if he is completely alien to the feeling transmitted by the artist. Such visitors will not notice convey the mood, or prointerpretiruet him in a measure of misunderstanding. We all watched and quite tearful delight the audience in front of some stupid kichuhoy, which expressed only one mood: give 10 bucks, and giggle the same respectable audience in front of a masterpiece with inaccessible to her mood.

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Zhorik no one was driving, he refused to join

"In 1924 de Chirico was solemnly adopted by the union of the Surrealists" - is a biography of the artist. Apparently, under the influence of this event, he soon married Raisa Gurevich.

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this virtuous teams, from morning till night to lick any place to Stalin and other Communists and praises the exploits of the NKVD

Do not laugh. Who and what to lick - very sick problem for most people with unfulfilled political systems. Stalin, incidentally, are not excited all surrealists. They are due to this large torn occurred. By the way, their main chef was friends with Trotsky against Stalin.

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the gift of foresight was at Chirico, Breton did not have (see the famous story with a portrait of Apollinaire), and refer to the post-war scandals, to explain the quarrel could only prewar Surrealist - as evidence of his complete contempt for reality .

Confess. Mea culpa. Breton rebelled against salon still lifes Chirico. In general, then, the starting point for subsequent extrapolation have been identified.

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But who are these "best surrealists? The fact that you have to look for them outside the group and among men who denied any involvement in the movement, best and shows slightly viability of this movement

You have captured my thoughts. The irony of history. Insolvent movement drew attention to a number of pressing issues for the culture and had a lot of important implications. Mouse bare mountain. This phenomenon is interesting in itself, and as a part of history.

Сообщение от LCR

Quote: Originally Posted by Art-lover:
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.

What you say, just proves the correctness of Cocteau - because you perefraziruete his words: pulling out the secret to the surface, it inoperative.

I do not paraphrase the banality of Cocteau. The real secret can not be pulled to the surface - will not for all the effort. This story can be diluted - if the second page to make it clear who the main villain. The real mystery is inexhaustible in its essence. Therefore, not all metaphysics, theology and mysticism, chatted about all sorts of transcendence, reprehensible in the absence of taste and the erosion of confidentiality. That's why our enigmatik without fear of ridicule, putting in little words "secret" and "enigma" in the names of many of his paintings.

[LCR]

I found some interesting material on the blog by Kiriko newspaper "Le Monde", dedicated to art. Here it is.

Riddle, remembrance, melancholy, sleep, uncertainty, otkrovanie, secret, mysterious, sealed ...

I like the words that Giorgio de Chirico picked for the names of their kakrtin. A remarkable exhibition at the Municipal Museum of Contemporary Art in Paris at last managed to debunk the myth that during the first period of dizzying creativity of the artist followed by dull and conformist works - this myth, recycled surrealists, as it legitimized intellektualnubyu laziness and eliminates the need to see works created after 20-ies.

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After touring the exhibition there is a definite sense of common heritage of de Chirico, the high quality of painting itself, whatever its subject. Of course, with the years the meaning of the paintings varies, nasmenu one coming the other subjects, but the world of de Chirico as the image remains the same. This constancy can be seen in different aspects. One of them, I was particularly touched - it is the coherence of his self-portraits.

The earliest dated vytoportret 1910-11 gg. De Chirico at the time was 22 years old, he had just returned to Italy after Munich's. This portrait of melancholic young man who doubt everything, not sure either of his life, nor in his love, but in their home country (in their many homelands). The character shown on a green background - is the hero of the tragedy. The picture shows an inscription in Latin: "What I love, but the riddle?» (Et quid amabo nisi quod aenigma est?, New Gallery of Dreams, Lugano, 72,4 h 55). Later, in 1919, portraying himself and his mother, Kiriko put this self-portrait in the background of his new film (a collection of the Pompidou Center): latent homosexual painter (anadiz Emily Brown) in the shadow of his domineering mother? Or just playing the echo between the two forms with severe facial features - an elderly woman and young man?

In the 20-ies., After Ferrara, and Paris, de Chirico's self-portraits depict a mature man with the bloated features and fleshy lips, aloof, perhaps even arrogant. Double self-portrait of 1922-24 gg. (a collection of the Museum of Toledo) ambiguous: painting - and sculpture, Renaissance - and Antiquity, attentive eyes, turned to the viewer - and the dead eyes looking straight ahead, but the flesh - and the stone, the life - and death.
I wanted to portray the supreme triumph of the artist embodied in the immortal masterpiece, or turning it into stone? I remembered the story of Lot's wife, turned into a statue of salt, because on the way to "rescue", she turned to face its past, and Chirico in those years - he turned to history painting, he became like a corpse in the eyes of his former friends the Surrealists . But if he invites us to enter into this labyrinth of numerous echoes and reflections zerkalnyzh or vice versa, it keeps us, warns against careless poguzheniya into this bottomless abyss? In another self-portrait of the same period (1925) he depicted himself surrounded by a red curtain, as in some kind of theatrical staging. All the same commitment to painting as an image.

Later, once inside a network of classicism, drawing from it inspiration and creative power, he portrayed himself in the costume of the 17 th century and in the black suit the time of Spanish Philip IV, in the form of a bullfighter, condottiere markizika and Versailles, he painted himself as an artist and a palette - one more suit ...
Here is his self-portrait in a red suit (1942). All these changing - just an excuse for the depictions of his autobiography, "portable, as on the theatrical stage, vague and ambiguous figure, elusive, unreal," because the reality does not exist - but more truthful and durable than the reality, the symbolic power attached to them art "(Paolo Baldachchi).
Dvoytsnoy self-portrait - a portrait of the portrait, the endless duality, the denial of time, going beyond the limits of reality.

In 1945 de Chirico wrote two self-portraits in the nude, standing alone, the second - while sitting, and, as shown picture placed in the magazine «Life», chaste loincloth was pririsoval later. In the magazine article quoted by Max Ernst: "This is a portrait of ruins, which once was a genius; ozhirevshee, weak, completely asexual body oovislye cheeks, pallor almost dead ... In this portrait, there is something surprisingly convincing, as if the artist Apisai himself after his own death. " After mozdaniya this canvas de Chirico lived another 32 years (having gone through, by the way Ernest 2 years). In this portrait, I see povloschenie his paintings, brutal, provocative, in a word, revolutionary.

[LCR]

Could it be that life - this is one huge lie?

Maybe she's just a shadow of an elusive dream?

This thought haunted by Giorgio de Chirico, it pervades all his works, from the very first canvas to the last. Yesterday we talked about his self-portraits. Here are other treasures of his heritage.

This "Mystery of the hour" (private sobyuranie, 55 x 71) written in 1911, when he opened for himself Paris. Rather, it is his first metaphysical canvas, the first in which the architecture takes center stage. Three characters barely identified, figure sailor (?) On the left too insignificant. You can already find the elements of classical architecture, structuration of space, yet very front, and of course, watches, compositional and semantic center of the picture. In 1917, in his book "unsettling hour", he wrote: "The untitled hour on the dial of human time" ...

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At the end of life, in 1971, de Chirico painted «Il Meditatore», «musing" (Foundation Giorgio and Isa de Chirico in Rome; 149 x 147). This seated man with disproportionately long torso covered with white flames that stifle it, as sea monsters Albino attacking neego - an allegory, this is tight, nerasshifruema. Orgomnaya right hand, it seems, extended in arguing for the gesture, while the left, a tiny, atrophied these belyami languages. Thoughts can not be alarming, with no illusions.


I must say that I was incredibly intriguing to de Chirico to counterfeiting. On the one hand, he has consistently denounced fakes his early and completely original work (see photo in «Paese Sera» on June 2, 1977). On the other - it secret from everyone repeating some of his early works. So there were other artists, in particular Munch. But it seems that de Chirico did so with particular glee: looking at his works, these modern replicas, not to say that his talent was exhausted, that these remarks - the generation of senile senile. Perhaps, in these repetitions of the early works is an element nostallgicheskogo return to his youth, but for me the most important thing in this - the denial of a masterpiece, a unique product of a fetish, that Robert Mozeruell called "beautiful suicide". And in the end, not whether they are the best copies of a mockery of the Surrealists, who cursed him - is to destroy the value of the product - because by doing so he beat them at their own field of battle!




collection Berger Sale /Saint-Laurent: Pompidou Center, bought a fake Chirico?

On the sale of the collection Berger /Saint-Laurent Pompidou Center took advantage of their preferential right and purchased for 11 million euros now "Alien (ghost), written in Ferrara in 1917-18, the second title of which -" The Return of Napoleon III ».

In the Christie's catalog said: "The buyer will receive a certificate of authenticity, issued by the Fund Giorgio and Isa de Chirico. But the historian's picture and its owners, printed in the catalog is incomplete.

Indeed, it is necessary to carefully read the magazine Fine Arts »(« eaux-Arts ») for February 2009 It tells the following story: In 1972, de Chirico came to the Museum of Decorative Arts before the close of the exhibition devoted to surrealism. He declared that four of the canvas of the under his name (including painting, bought by the Center Pompidou), forgery and called the bailiff that he has imposed on them in order to arrest further destruction. Vladitsa paintings, Beatrice Cole, went to court and bring proof of the authenticity of works. Then de Chirico told the judge that he had challenged the authenticity of neskoll to hundreds of works that were attributed to him. There was a lot of expertise, the lawyers were fighting with each other. De Chirico died in the midst of trial, and his widow has refused to continue the lawsuit. Paintings to be genuine, and one of them sold Berger /Saint-Laurent.

You can be sure that the picture that we see in the speed of the Pompidou Center - the original, all except for the approval of the zudozhnika, svidetetelstvuet about this (quite conclusively that the museum knew about this story, although Christie's and shamefully silent about it .

I repeat: this artist renounces his works, I was intrigued. Some say on the subject of self-hatred, of the insult to the Surrealists, others believe that such actions are explained mercantile considerations. But even if all of these reasons do exist, primarily in the behavior of de Chirico I think it's nihilism, the rejection of "shedevrizatsii 'reluctance to take some other place, it is the negation of the art world.

[Meister]

LCR, is interesting on how much work he refused and, as I understand, he refused primarily on the early works? and Christie - thieves)))) so sweet silent about certain aspects of provenance))

[LCR]

Сообщение от Meister

LCR, is interesting on how much work he refused and, as I understand, he refused primarily on the early works?

Not primarily, but exclusively. Exact figures with me, of course not, but yesterday was surprised when he reached the place where told that Chirico told the judge that challenged the authenticity of hundreds attributed to him (and, Apparently, quite true) works!

[Meister]

Сообщение от LCR

that challenged the authenticity of several hundred attributed to him (and, apparently, quite authentic) work!

how much he is then created in this period?

[Art-lover]

Photo Chirico from stock artist. First Look - as he is on the site, the second - it brightened, revealed some details

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In self-portraits Chirico crease thing in common: the artist is not just looking out of the picture, but as if waiting for the audience reaction. Look a man who feels glance imaginary friend - MB, perfect double, alter ego?

[qwerty]

Today visited the exhibition. Few personal impressions. Firstly, the exhibition is striking, the Museum of the City of Paris, along with the curators have worked on glory: Sveza work from around the world, and from museums and many private collections. A lot of unexpected work that I had never seen before, for example, there are half a dozen abstractions and several Madonnas, written entirely in the style of 15-16 centuries, and they all date back to the early 20's, judging from everything, away from the metaphysics of the artist was looking for than we would do next. Secondly, in several works hung red circles, as at fairs, where the work is sold. Check with the local, so it could not be, answered evasively, but apparently it is! What is extremely surprising. In the third, was struck by the number of self-portraits, I do not recall the second case, when an artist with a great love subscribed to himself every year or two, without interruption and regardless of the surrounding events. Fourthly, surprised the number of repetitions of late, some scenes are repeated five times, nothing more than commercial considerations, it seems impossible to explain. Oh, and the last. Earlier, I, like everyone else, in fact, the most admired De Chirico's metaphysics, on the same show most impressed by his work mid-twenties, where there are depersonalized figures - very cool!