{"id":22593,"date":"2023-03-27T16:30:35","date_gmt":"2023-03-27T15:30:35","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=22593"},"modified":"2024-01-19T19:56:30","modified_gmt":"2024-01-19T19:56:30","slug":"echoes-of-de-chirico","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2023\/03\/27\/echoes-of-de-chirico\/","title":{"rendered":"Echoes of de Chirico"},"content":{"rendered":"

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The Song of Love (1914) by Giorgio de Chirico.<\/em><\/p>\n

His art studies, begun in Athens, were continued in Munich where he discovered the work of Max Klinger and Arnold B\u00f6cklin, not to mention the writings of Friedrich Nietzsche and Arthur Schopenhauer, whose influence is perceptible in the paintings he went on to produce in Florence and Turin. In addition, his melancholy temperament lay behind the works that Guillaume Apollinaire labelled \u201cmetaphysical,\u201d works in which elements from the real world (deserted squares and arcades, factory chimneys, trains, clocks, gloves, artichokes) were imbued with a sense of strangeness.<\/p>\n

Keith Aspley, Historical Dictionary of Surrealism<\/em><\/p><\/blockquote>\n

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The Enigma of a Day (1914) by Giorgio de Chirico.<\/em><\/p>\n

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Plate II from Let There Be Fashion, Down With Art<\/a> (Fiat modes pereat ars) (1920) by “Dadamax Ernst”.<\/em><\/p>\n

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The Birth of an Idol (1926) by Ren\u00e9 Magritte.<\/em><\/p>\n

Some time during the latter part of 1923 [Magritte] came face-to-face with his destiny, in the form of a painting by Giorgio de Chirico, who was one of the painters most admired by the Paris Surrealists: Le Chant d’amour<\/em> (The Song of Love<\/em>, 1914); to be more precise, a black-and-white reproduction of that painting in the review Les Feuilles libres<\/em>, a very contrasty reproduction, as Sylvester has it, which only heightened the drama of the outsize objects suspended in the foreground of one of de Chirico\u2019s \u201cmetaphysical landscapes\u201d… He was shown it by Lecomte, or Mesens, or both. He was overwhelmed. […] Magritte always spoke of de Chirico as his one and only master. As a rule, he was exceedingly parsimonious in his assessment of other artists, past and present. In his own time, de Chirico (1888\u20131978) and Ernst (1891\u20131976) appear as the only two he admired, more or less unconditionally.<\/p>\n

Magritte: A Life by Alex Danchev<\/em><\/p><\/blockquote>\n

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Sewing Machine with Umbrellas in a Surrealist Landscape (1941) by Salvador Dal\u00ed.<\/em><\/p>\n

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La Ville Luminaire No. 2 (1956) by Paul Delvaux.<\/em><\/p>\n

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The Disquieting Muses<\/em><\/a> (1957) by Sylvia Plath.<\/p>\n

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Misterioso (1958) by Thelonious Monk Quartet. Design by Paul Bacon.<\/em><\/p>\n

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The Spider’s Stratagem<\/em> (1970), directed by Bernardo Bertolucci.<\/p>\n

The Spider\u2019s Stratagem<\/em> is a movie conceived of, written and shot in colour and is evocative of certain paintings by Ren\u00e9 Magritte or Giorgio de Chirico.<\/p>\n

BernardoBertolucci.org<\/em><\/a><\/p><\/blockquote>\n

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\"dechirico04.jpg\"<\/p>\n

Metaphysical Interior with Large Factory (1916) by Giorgio de Chirico.<\/em><\/p>\n

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Sleeve rear: “Metaphysical view of Factory with album cover.”<\/em><\/p>\n

25 Years On<\/em> (1978) by Hawklords. Design by Barney Bubbles. Photography by Brian Griffin and Chris Gabrin.<\/p>\n

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Inner sleeve.<\/em><\/p>\n

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The Voice<\/em> (1981) by Ultravox. Design by Peter Saville (credited to “Estudio Saville”).<\/p>\n

\"ultravox2.jpg\"<\/p>\n

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Thieves Like Us (1984) by New Order. Design by Peter Saville\/Trevor Key.<\/em><\/p>\n

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Promo video for Loving the Alien<\/em><\/a> (1985) by David Bowie. Directed by David Bowie with David Mallet.<\/p>\n

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\"dechirico03.jpg\"<\/p>\n

The Red Tower (1913) by Giorgio de Chirico.<\/em><\/p>\n

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The Red Tower<\/em><\/a> (1996) by Thomas Ligotti.<\/p>\n

The ruined factory stood three stories high in an otherwise featureless landscape. Although somewhat imposing on its own terms, it occupied only the most unobtrusive place within the gray emptiness of its surroundings, its presence serving as a mere accent upon a desolate horizon. No road led to the factory; nor were there any traces of one that might have led to it at some time in the distant past. If there had ever been such a road it would have been rendered useless as soon as it arrived at one of the four, red-bricked sides of the factory, even in the days when the facility was in full operation. The reason for this was simple: no doors had been built into the factory, no loading docks or entranceways allowed penetration of the outer walls of the structure, which was solid brick on all four sides without even a single window below the level of the second floor.<\/p><\/blockquote>\n

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Surrealista: A Tribute to Giorgio de Chirico<\/em><\/a> for Windows and Mac computers.<\/p>\n

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De Chirico \u2013 Interno metafisico con biscotti<\/em><\/a> (2020), a romanzo a fumetti<\/em> by Sebastiano Vilella.<\/p>\n

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Elsewhere on { feuilleton }
\n\u2022 The Surrealism archive<\/a><\/p>\n

Previously on { feuilleton }
\n\u2022 The nightingale echo<\/a>
\n\u2022 Max Ernst\u2019s favourites<\/a>
\n\u2022 The art of Carel Willink, 1900\u20131983<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

The Song of Love (1914) by Giorgio de Chirico. His art studies, begun in Athens, were continued in Munich where he discovered the work of Max Klinger and Arnold B\u00f6cklin, not to mention the writings of Friedrich Nietzsche and Arthur Schopenhauer, whose influence is perceptible in the paintings he went on to produce in Florence … Continue reading “Echoes of de Chirico”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"New blog post: Echoes of de Chirico","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[8,2,42,9,4,7,22,3,44,18],"tags":[86,3256,10808,10809,1301,12741,693,5767,112,12739,349,753,115,87,12742,393,12738,3233,12740,2210],"class_list":["post-22593","post","type-post","status-publish","format-standard","hentry","category-architecture","category-art","category-books","category-comics","category-design","category-film","category-horror","category-music","category-painting","category-surrealism","tag-barney-bubbles","tag-bernardo-bertolucci","tag-brian-griffin","tag-chris-gabrin","tag-david-bowie","tag-david-mallet","tag-giorgio-de-chirico","tag-hawklords","tag-max-ernst","tag-paul-bacon","tag-paul-delvaux","tag-peter-saville","tag-magritte","tag-salvador-dali","tag-sebastiano-vilella","tag-sylvia-plath","tag-thelonious-monk-quartet","tag-thomas-ligotti","tag-trevor-key","tag-ultravox"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-5Sp","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/22593","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=22593"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/22593\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=22593"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=22593"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=22593"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}