It is generally accepted that some of the unsettling scenes of the Italian metaphysical painter Giorgio de Chirico, arose from his response to the northern Italian city of Turin, a city he claimed a great affinity with. While de Chirico’s paintings and commentary of this period abound with references to Turin, there has been little investigation into how genuine these citied locations really are. We know that de Chirico’s preference for Turin arose from his passionate engagement with the writings of the philosopher Friedrich Nietzsche and Nietzsche’s fondness for the city. Yet there is much evidence to suggest that Munich, the city of de Chirico’s early art school days permeated his imagery more completely; whereas Turin reflected his philosophical and aesthetic concerns. This article examines how cities have operated for the artist and how using iconography from both the world of the real and imagined produced powerful enigmatic images that evoked a profound mood of illusion and revelation.
Notes
This article was also presented as : Spectres in the City : De Chirico's mythologized streetscapes, in Proceedings of the Double Dialogues Hidden Stories Conference, University of Melbourne, Victoria, 10 - 12 December 2009, [Deakin University], [Melbourne, Vic.], pp. 2-11.
Reproduced with the specific permission of the copyright owner.
Language
eng
Field of Research
190502 Fine Arts (incl Sculpture and Painting)
Socio Economic Objective
950104 The Creative Arts (incl. Graphics and Craft)
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Every reasonable effort has been made to ensure that permission has been obtained for items included in DRO. If you believe that your rights have been infringed by this repository, please contact drosupport@deakin.edu.au.