{{Short description|Italian artist (1888–1978)}} {{Use dmy dates|date=April 2022}} {{Infobox artist | image = Giorgio de Chirico (portrait).jpg | caption = De Chirico photographed by Carl Van Vechten, 1936 | birth_name = Giuseppe Maria Alberto Giorgio de Chirico | birth_date = {{Birth date|1888|7|10|df=y}} | birth_place = Volos, Greece | death_date = {{Death date and age|1978|11|20|1888|7|10|df=y}} | death_place = Rome, Italy | resting_place = Church of San Francesco a Ripa, Rome | resting_place_coordinates = {{coord|41.885127|12.473186|region:IT-RM_type:landmark|display=tinlineitle}} | field = {{Flatlist| * Painting * sculpture * drawing * costume * stage design }} | training = {{Plainlist| * Athens School of Fine Arts * Academy of Fine Arts}} | movement = {{Flatlist| * Metaphysical art * surrealism }} | patrons = | awards = | spouse = {{Plainlist| * {{Marriage|Raissa Gourevitch|1930|1931}}<ref name="Marriage">{{Cite web|title=Biography|url=https://fondazionedechirico.org/en/giorgio-de-chirico|website=Fondazione Giorgio e Isa de Chirico}}</ref> * {{Marriage|Isabella Pakszwer Far|1946}}<ref name="Marriage" />}} | module = {{Infobox person|child=yes | signature = Chirico autograph.png}} }} [[File:De Chirico's Love Song.jpg|thumb|''The Song of Love'', 1914, oil on canvas, 73 × 59.1 cm, Museum of Modern Art, New York]]

'''Giuseppe Maria Alberto Giorgio de Chirico''' ({{IPAc-en|ˈ|k|ɪr|ɪ|k|oʊ}} {{respell|KIRR|ik|oh}}; {{IPA|it|ˈdʒordʒo de ˈkiːriko|lang}}; 10 July 1888 – 20 November 1978) was a Greek-Italian artist and writer born in Volos, Greece. In the years before World War I, he founded the {{lang|it|scuola metafisica}} art movement, which profoundly influenced the surrealists. His best-known works often feature Roman arcades, long shadows, mannequins, trains, and illogical perspective. His imagery reflects his affinity for the philosophy of Arthur Schopenhauer and of Friedrich Nietzsche, and for the mythology of his birthplace.

After 1919, de Chirico became a critic of modern art, studied traditional painting techniques, and later worked in a neoclassical or neo-Baroque style, while frequently revisiting the metaphysical themes of his earlier work.

==Early life and works== Giuseppe Maria Alberto Giorgio de Chirico was born in Volos, Greece,<ref>[http://www.getty.edu/vow/ULANFullDisplay?find=giorgio+de+chirico&role=&nation=&prev_page=1&subjectid=500032635 Union List of Artist Names Online], retrieved 15 February 2019.</ref><ref name="dbi">{{cite encyclopedia |year=1987 |title=De Chirico, Giorgio |encyclopedia=Enciclopedia Italiana |url=http://www.treccani.it/enciclopedia/giorgio-de-chirico_(Dizionario-Biografico) |access-date=17 February 2019 |last=Rivosecchi |first=Valerio |language=it}}</ref> as the eldest son of Gemma Cervetto and Evaristo de Chirico.<ref>{{Cite web|title=Giorgio de Chirico {{!}} Fondazione Giorgio e Isa de Chirico|url=https://fondazionedechirico.org/de-chirico/|access-date=2020-06-04|language=it-IT}}</ref> His mother was a baroness from Genoa,<ref>{{Cite web|url=https://www.marsilioeditori.it/media/rassegna_stampa/arn199042970229.pdf|title=De Chirico|author=Anissia Becerra|access-date=7 January 2022|language=it|website=marsilioeditori.it}}</ref> with Greek origins from Smyrna,<ref name=":0">{{Cite journal |last=Hassall |first=Douglas |date=2020 |title=The art of Giorgio de Chirico: The modernist who returned to craftsmanship |url=https://search.informit.org/doi/abs/10.3316/INFORMIT.114071068669152 |journal=Quadrant |volume=64 |issue=5 |pages=100–103 |quote=The standard sources record that de Chirico was born in 1888 at Volos in Greece, his mother being a Genoese Greek of Smyrna origins and his father a Sicilian barone of Greek ancestry. The Greek Kyriko family had moved to Palermo from Rhodes in 1523, as part of a migration of some 4000 Greek Catholic families into Sicily and southern Italy.}}</ref> and his father, a baron from Sicily,<ref name="dbi" /><ref>{{Cite book|title=Giorgio De Chirico. L'uomo, l'artista, il polemico: Guida alle interviste 1938–1978|author=Aa.Vv.|year=2014|publisher=Gangemi|location=Roma|language=it|page=64|isbn=978-8849224320}}</ref> also had Greek ancestry. The Kyriko or Chirico family was of Greek origin, having moved from Rhodes to Palermo in 1523 together with 4,000 other Greek Catholic families.<ref name=":0" /><ref name="fondazionedechirico">Nikolaos Velissiotis, [http://www.fondazionedechirico.org/wp-content/uploads/7.-Metaphysical-Art-n.11-13_N.Velissiotis_2014_ENG.pdf "The Origins of Adelaide Mabili and Her Marriage to Giorgio De Chirico: Restoration of the Historical Truth"] {{Webarchive|url=https://web.archive.org/web/20190215050400/http://www.fondazionedechirico.org/wp-content/uploads/7.-Metaphysical-Art-n.11-13_N.Velissiotis_2014_ENG.pdf|date=15 February 2019}}, ''Metaphysical Art'', 2013|N° 11/13.</ref><ref name="kyriko">{{cite web|url=https://www.researchgate.net/figure/The-map-depicts-in-dotted-lines-the-successive-moves-of-de-Chirico-family-after-their_fig1_320015858|title=Figure 1: The map depicts in dotted lines the successive moves of de...|website=ResearchGate}}</ref> De Chirico's family was in Greece at the time of his birth because his father, an engineer, was in charge of the construction of railroad projects, including the Pelion railway.<ref>{{Cite book|title=Giorgio De Chirico. L'uomo, l'artista, il polemico: Guida alle interviste 1938–1978|publisher=Gangemi|location=Roma|author=Aa.Vv.|year=2014|language=it|page=49|isbn=978-8849224320}}</ref> His younger brother, Andrea Francesco Alberto, became a famous writer, painter and composer under the pseudonym Alberto Savinio.

Beginning in 1900, de Chirico studied drawing and painting at Athens Polytechnic—mainly under the guidance of the Greek painters Georgios Roilos and Georgios Jakobides. After Evaristo de Chirico's death in 1905, the family relocated in 1906 to Germany, after first visiting Florence.<ref name="Gale_Grove">Gale, Matthew (2003, January 01). "De Chirico, Giorgio". Grove Art Online. Ed.</ref> De Chirico entered the Academy of Fine Arts in Munich, where he studied under Gabriel von Hackl and Carl von Marr and read the writings of the philosophers Friedrich Nietzsche, Arthur Schopenhauer and Otto Weininger. There, he also studied the works of Arnold Böcklin and Max Klinger.<ref>Holzhey, Magdalena. ''Giorgio de Chirico''. Cologne: Taschen, 2005, p. 10. {{ISBN|3-8228-4152-8}}</ref><ref name="Propyläen Kunstgeschichte 1990, p. 201">see the entry on de Chirico in "Propyläen Kunstgeschichte, Die Kunst des 20. Jahrhunderts 1880–1940", by Giulio Carlo Argan, 1990, p. 201, {{ISBN|978-3-549-05112-2}}</ref> The style of his earliest paintings, such as ''The Dying Centaur'' (1909), shows the influence of Böcklin.<ref name="Gale_Grove"/>

==Metaphysical art== {{Main|Metaphysical art}} [[File:Giorgio de Chirico, 1914-15, Le mauvais génie d’un roi (The Evil Genius of a King), oil on canvas, 61 × 50.2 cm, Museum of Modern Art, New York.jpg|thumb|''Le mauvais génie d'un roi'' (''The Evil Genius of a King''), 1914–15, oil on canvas, 61 × 50.2 cm, Museum of Modern Art]] [[File:Giorgio de Chirico, 1914-15, The Seer, oil on canvas, 89.6 x 70.1 cm, Museum of Modern Art, New York.jpg|thumb|''The Seer'', 1914–15, oil on canvas, 89.6 × 70.1 cm, Museum of Modern Art]] [[File:Giorgio de Chirico, 1917, Great Metaphysical Interior, oil on canvas, 95.9 x 70.5 cm, Museum of Modern Art.jpg|thumb|''Great Metaphysical Interior'', 1917, oil on canvas, 95.9 × 70.5 cm, Museum of Modern Art]] [[File:Giorgio de Chirico, 1920, Self-portrait, oil on wood, 50.2 x 39.5 cm, Pinakothek der Moderne.jpg|thumb|''Self-portrait'' (''Autoritratto''), 1920, oil on wood, 50.2 x 39.5 cm, Pinakothek der Moderne]] De Chirico returned to Italy in the summer of 1909 and spent six months in Milan. By 1910, he was beginning to paint in a simpler style with flat, anonymous surfaces. At the beginning of 1910, he moved to Florence, where he painted the first of his 'Metaphysical Town Square' series, ''The Enigma of an Autumn Afternoon'', after the revelation he felt in Piazza Santa Croce. He also painted ''The Enigma of the Oracle'' while in Florence. In July 1911, he spent a few days in Turin on his way to Paris. De Chirico was profoundly moved by what he called the "metaphysical aspect" of Turin, especially the architecture of its archways and piazzas. The paintings de Chirico produced between 1909 and 1919, his metaphysical period, are characterized by haunted, brooding moods evoked by their images. At the start of this period, his subjects were motionless cityscapes inspired by the bright daylight of Mediterranean cities, but gradually he turned his attention to studies of cluttered storerooms, sometimes inhabited by mannequin-like hybrid figures. De Chirico's conception of Metaphysical art was strongly influenced by his reading of Nietzsche, whose style of writing fascinated de Chirico with its suggestions of unseen auguries beneath the appearance of things.<ref>Holzhey 2005, p. 14.</ref>

De Chirico found inspiration in the unexpected sensations that familiar places or things sometimes produced in him: In a manuscript of 1909, he wrote of the "host of strange, unknown and solitary things that can be translated into painting ... What is required above all is a pronounced sensitivity."<ref>Holzhey 2005, p. 15.</ref> Metaphysical art combined everyday reality with mythology, and evoked inexplicable moods of nostalgia, tense expectation, and estrangement.<ref>Holzhey 2005, p. 25.</ref> The picture space often featured illogical, contradictory, and drastically receding perspectives. Among de Chirico's most frequent motifs were arcades, of which he wrote: "The Roman arcade is fate ... its voice speaks in riddles which are filled with a peculiarly Roman poetry."<ref>Holzhey 2005, pp. 15–18.</ref>

De Chirico moved to Paris in July 1911, where he joined his brother, Andrea. Through his brother, he met Pierre Laprade, a member of the jury at the Salon d'Automne, where he exhibited three of his works: ''Enigma of the Oracle'', ''Enigma of an Afternoon'' and ''Self-Portrait''. During 1913, he exhibited paintings at the Salon des Indépendants and Salon d'Automne; his work was noticed by Pablo Picasso and Guillaume Apollinaire, and he sold his first painting, ''The Red Tower''. His time in Paris also resulted in the production of de Chirico's ''Ariadne''. In 1914, through Apollinaire, he met the art dealer Paul Guillaume, with whom he signed a contract for his artistic output. At the outbreak of World War I, de Chirico returned to Italy. Upon his arrival in May 1915, he enlisted in the army, but he was considered unfit for work and assigned to the hospital at Ferrara. The shop windows of that town inspired a series of paintings that feature biscuits, maps, and geometric constructions in indoor settings.<ref>Holzhey 2005, p. 46.</ref> In Ferrara, he met with Carlo Carrà and together they founded the pittura metafisica movement.<ref name="Propyläen Kunstgeschichte 1990, p. 201"/>

==Return to order== De Chirico continued to paint, and he transferred to Rome in 1918. Starting from 1918, his work was exhibited extensively in Europe. In November 1919, de Chirico published an article in ''Valori plastici'' entitled "The Return of Craftsmanship", in which he advocated a return to traditional methods and iconography.<ref>Metken, G. (1981). ''Realismus: zwischen Revolution und Reaktion, 1919–1939 : [Ausstellung im Centre Georges Pompidou, Paris, 17. Dezember 1980-20. April 1981 : Ausstellung in der Staatlichen Kunsthalle, Berlin, 16. Mai-28. Juni 1981''. München: Prestel-Verlag. pp. 83–84. {{ISBN|3-7913-0540-9}}.</ref> This article heralded an abrupt change in his artistic orientation, as he adopted a classicizing manner inspired by such old masters as Raphael and Signorelli, and became part of the post-war return to order in the arts. He became an outspoken opponent of modern art.<ref>Schwartz, Sanford. ''Artists and Writers''. New York: Yarrow Press, 1990, pp. 28–29. {{ISBN|1-878274-01-5}}</ref>

In the early 1920s, the Surrealist writer André Breton discovered one of de Chirico's metaphysical paintings on display in Guillaume's Paris gallery, and was enthralled.<ref>Holzhey 2005, p. 62.</ref> Numerous young artists who were similarly affected by de Chirico's imagery became the core of the Paris Surrealist group centred around Breton. In 1924, de Chirico visited Paris and was accepted into the group, although the surrealists were severely critical of his post-metaphysical work.<ref>Holzhey 2005, p. 67.</ref>

De Chirico met and married his first wife, the Russian ballerina Raissa Gurievich (1894–1979) in 1925, and together they moved to Paris.<ref name="Holzhey94">Holzhey 2005, p. 94.</ref> His relationship with the Surrealists grew increasingly contentious, as they publicly disparaged his new work; by 1926, he had come to regard them as "cretinous and hostile".<ref>Cowling, Elizabeth; Mundy, Jennifer. ''On Classic Ground: Picasso, Léger, de Chirico and the New Classicism, 1910–1930''. London: Tate Gallery, 1990, p. 81. {{ISBN|1-854-37043-X}}</ref> They soon parted ways in acrimony. In 1928, he held his first exhibition in New York City and shortly afterwards, in London. He wrote essays on art and other subjects, and in 1929 published a novel entitled ''Hebdomeros, the Metaphysician''. Also in 1929, he made stage designs for Sergei Diaghilev.<ref name="Propyläen Kunstgeschichte 1990, p. 201"/>

==Later works== [[File:Paolo Monti - Servizio fotografico (Italia, 1970) - BEIC 6361525.jpg|thumb|De Chirico in 1970, photographed by Paolo Monti. Fondo Paolo Monti, BEIC]] In 1930, de Chirico met his second wife, Isabella Pakszwer Far (1909–1990), a Russian, with whom he would remain for the rest of his life. Together they moved to Italy in 1932 and to the US in 1936,<ref name="Propyläen Kunstgeschichte 1990, p. 201"/> finally settling in Rome in 1944. In 1948, he bought a house near the Spanish Steps; now the Giorgio de Chirico House Museum, a museum dedicated to his work. In 1939, de Chirico adopted a neo-Baroque style influenced by Rubens.<ref name="Holzhey94" />

This artistic phase, which lasted until the late 60s, is sometimes referred to as the 'Baroque season'. During this time, de Chirico drew inspiration from artists such as Tintoretto, Dürer, Raphael, Delacroix and Renoir. The artist, far from willing to achieve realism in his paintings, strives to create images charged with myths and visions, for an art that is still literally "metaphysical", beyond reality. During these years, De Chirico also studied and rediscovered the painting techniques adopted by old masters, such as Titian: "So I started doing copies of the old masters. In Rome... in Florence... and then I also got interested in their techniques, I consulted numerous treatises on painting, both ancient and modern."<ref>{{cite web|url=https://fondazionedechirico.org/wp-content/uploads/2019/07/20.-n.-11-13-Metaphysical-Art-Interview_de_Chirico_1971_2014_ENG.pdf|title=Metaphysical Art Interview de Chirico |website=fondazionedechirico.org|access-date=24 May 2023}}</ref>

De Chirico's later paintings never received the same critical praise as did those from his metaphysical period. He resented this, as he thought his later work was better and more mature. He nevertheless produced backdated "self-forgeries" both to profit from his earlier success and as an act of revenge, retribution for the critical preference for his early work.<ref>{{cite web|url=http://www.artchive.com/artchive/D/de_chiricobio.html|title=Giorgio De Chirico|website=www.artchive.com|access-date=2008-01-02|archive-url=https://web.archive.org/web/20070214095615/http://www.artchive.com/artchive/D/de_chiricobio.html|archive-date=2007-02-14}}</ref> He also denounced many paintings attributed to him in public and private collections as forgeries.<ref>[https://books.google.com/books?id=R3p7AQ_qq30C ''The Memoirs of Giorgio de Chirico'', Perseus Books Group, 1994], {{ISBN|0-306-80568-5}}</ref> In 1945, he published his memoirs.<ref name="Propyläen Kunstgeschichte 1990, p. 201"/>

De Chirico remained extremely prolific even as he approached his 90th year.<ref>Schwartz 1990, p. 29.</ref> During the 1960s, Massimiliano Fuksas worked in his atelier. In 1974, de Chirico was elected to the French Académie des Beaux-Arts. He died in Rome on 20 November 1978. In 1992, his remains were moved to the Roman church of San Francesco a Ripa.<ref>{{cite web |url= http://www.sanfrancescoaripa.it/project/de-chirico/|title= Cappella di Giorgio De Chirico|author=<!--Not stated--> |website= sanfrancescoaripa.it|access-date= 11 May 2019|language=IT}}</ref>

==Style== De Chirico's best-known works are the paintings of his metaphysical period. In them, he developed a repertoire of motifs—empty arcades, towers, elongated shadows, mannequins, and trains, among others—that he arranged to create "images of forlornness and emptiness" that paradoxically also convey a feeling of "power and freedom".<ref>Schwartz 1990, p. 22.</ref> According to Sanford Schwartz, de Chirico—whose father was a railroad engineer—painted images that suggest "the way you take in buildings and vistas from the perspective of a train window. His towers, walls, and plazas seem to flash by, and you are made to feel the power that comes from seeing things that way: you feel you know them more intimately than the people do who live with them day by day."<ref>Schwartz 1990, pp. 23–24.</ref>

In 1982, Robert Hughes wrote that de Chirico{{bquote|could condense voluminous feeling through metaphor and association ... In ''The Joy of Return'', 1915, de Chirico's train has once more entered the city ... a bright ball of vapor hovers directly above its smokestack. Perhaps it comes from the train and is near us. Or possibly it is a cloud on the horizon, lit by the sun that never penetrates the buildings, in the last electric blue silence of dusk. It contracts the near and the far, enchanting one's sense of space. Early de Chiricos are full of such effects. Et quid amabo nisi quod aenigma est? ("What shall I love if not the enigma?")—this question, inscribed by the young artist on his self-portrait in 1911, is their subtext.<ref>Hughes, Robert, essay from ''Nothing If Not Critical: Selected Essays on Art and Artists'', 1982, seen at [http://www.artchive.com/artchive/D/de_chiricobio.html artchive.com] {{Webarchive|url=https://web.archive.org/web/20070214095615/http://www.artchive.com/artchive/D/de_chiricobio.html |date=2007-02-14 }}, retrieved June 19, 2013.</ref>}}

In this, de Chirico resembles his more representational American contemporary, Edward Hopper: their pictures' low sunlight, their deep and often irrational shadows, their empty walkways and portentous silences creating an enigmatic visual poetry.<ref>Wells, Walter, ''Silent Theater: the Art of Edward Hopper'', London/New York: Phaidon, 2007</ref>

==Legacy==

De Chirico won praise for his work almost immediately from the writer Guillaume Apollinaire, who helped to introduce his work to the later Surrealists. De Chirico strongly influenced the Surrealist movement: Yves Tanguy wrote how one day in 1922 he saw one of de Chirico's paintings in an art dealer's window, and was so impressed by it he resolved on the spot to become an artist, although he had never even held a brush. Other Surrealists who acknowledged de Chirico's influence include Max Ernst, Salvador Dalí, and René Magritte, who described his first sighting of de Chirico's ''The Song of Love'' as "one of the most moving moments of my life: my eyes ''saw'' thought for the first time."<ref>{{Cite news|url=https://www.nybooks.com/articles/2018/10/25/rene-magritte-every-time-i-look-at-it-i-feel-ill/|title=Every Time I Look at It I Feel Ill|last=Marler|first=Regina|journal=New York Review of Books|date=2018-10-25|access-date=2019-01-22|language=en|issn=0028-7504}}</ref>

Michelangelo Antonioni, an Italian film director, said he was influenced by de Chirico. Some comparison can be made to the long takes in Antonioni's films from the 1960s, in which the camera continues to linger on desolate cityscapes populated by a few distant figures, or none at all, in the absence of the film's protagonists. Other artists as diverse as Giorgio Morandi, Carlo Carrà, Paul Delvaux, Carel Willink, Harue Koga, Philip Guston, Andy Warhol, and Mark Kostabi were influenced by de Chirico. De Chirico's style has influenced several filmmakers, particularly in the 1950s through 1970s. The visual style of the French animated film ''Le Roi et l'oiseau'', by Paul Grimault and Jacques Prévert, was influenced by de Chirico's work, primarily via Tanguy, a friend of Prévert.<ref name="pmpr">[http://www.artsvisuels.ia94.ac-creteil.fr/ecoleetcinema/ressources/referencesculturelles/rcroietoiseau.pdf Quelques propositions d'activités – ''Le roi et l'oiseau''] {{webarchive|url=https://web.archive.org/web/20120710164024/http://www.artsvisuels.ia94.ac-creteil.fr/ecoleetcinema/ressources/referencesculturelles/rcroietoiseau.pdf |date=2012-07-10 }}, Paola Martini et Pascale Ramel, p. 4</ref> The visual style of Valerio Zurlini's film ''The Desert of the Tartars'' (1976) was influenced by de Chirico's work.<ref>Rolando Caputo. "Literary cineastes: the Italian novel and the cinema". Peter E. Bondanella & Andrea Ciccarelli (eds.). ''[https://books.google.com/books?id=0nMsnG6ed8kC The Cambridge Companion to the Italian Novel]''. Cambridge: Cambridge University Press, 2003. Pp. 182–196.</ref>

In 1958, Riverside Records used a reproduction of de Chirico's 1915 painting ''The Seer'' (originally painted as a tribute to French poet Arthur Rimbaud) as the cover art for pianist Thelonious Monk's live album ''Misterioso''. The choice was made to capitalize on Monk's popularity with intellectual and bohemian fans from venues such as the Five Spot Café, where the album had been recorded, but Monk biographer Robin Kelley later observed deeper connections between the painting and the pianist's music; Rimbaud had "called on the artist to be a seer in order to plumb the depths of the unconscious in the quest for clairvoyance ... The one-eyed figure represented the visionary. The architectural forms and the placement of the chalkboard evoked the unity of art and science—a perfect symbol for an artist whose music has been called 'mathematical.{{' "}}<ref>{{harvnb|O'Meally|1997|p=39}}; {{harvnb|Kelley|2009|p=249}}</ref>

Writers who have appreciated de Chirico include John Ashbery, who has called ''Hebdomeros'' "probably ... the finest [major work of Surrealist fiction]".<ref>''Selected Prose'', p. 89. (Originally in ''Book Week'' 4:15 (Dec. 18, 1966))</ref> Several of Sylvia Plath's poems are influenced by de Chirico.<ref>Christina Britzolakis, "Conversation amongst the Ruins: Plath and de Chirico", in Connors & Bayley, eds., ''''Eye Rhymes: Sylvia Plath's Art of the Visual'''' (Oxford University Press 2007)</ref> In his book ''Blizzard of One'', Mark Strand included a poetic diptych called "Two de Chiricos": "The Philosopher's Conquest" and "The Disquieting Muses". Gabriele Tinti composed three poems,<ref>{{cite web|url=http://www.fondazionedechirico.org/la-nostalgia-del-poeta-un-progetto-di-gabriele-tinti/?lang=en|title=The Nostalgia of the Poet – a project by Gabriele Tinti - Fondazione Giorgio e Isa de Chirico|website=www.fondazionedechirico.org|access-date=14 October 2017|archive-date=14 October 2017|archive-url=https://web.archive.org/web/20171014134200/http://www.fondazionedechirico.org/la-nostalgia-del-poeta-un-progetto-di-gabriele-tinti/?lang=en}}</ref> inspired by de Chirico's paintings: ''The Nostalgia of the Poet'' (1914),<ref>{{cite web|url=http://www.letteratura.rai.it/articoli/gabriele-tinti-la-nostalgia-del-poeta-omaggio-a-giorgio-de-chirico/34199/default.aspx|title=Gabriele Tinti: La nostalgia del poeta, Omaggio a Giorgio de Chirico|first=Rai|last=Letteratura|website=Il portale sulla letteratura di Rai Cultura}}</ref> ''The Uncertainty of the Poet'' (1913), and ''Ariadne'' (1913),<ref>{{cite web|url=http://www.letteratura.rai.it/articoli/gabriele-tinti-la-nostalgia-del-poeta-omaggio-a-giorgio-de-chirico-2/34206/default.aspx|title=Gabriele Tinti: La nostalgia del poeta, Omaggio a Giorgio De Chirico (2)|first=Rai|last=Letteratura|website=Il portale sulla letteratura di Rai Cultura}}</ref> works in the Peggy Guggenheim Collection, the Tate, and the Metropolitan Museum of Art, respectively. The poems were read by actor Burt Young at the Met in 2016.<ref>{{Cite web|url=http://www.letteratura.rai.it/articoli/gabriele-tinti-la-nostalgia-del-poeta-omaggio-a-giorgio-de-chirico-2/34206/default.aspx|title=Gabriele Tinti: La nostalgia del poeta, Omaggio a Giorgio De Chirico (2)|last=Letteratura|first=Rai|website=Il portale sulla letteratura di Rai Cultura|language=it-IT|access-date=2019-01-22}}</ref><ref>{{Cite web|url=http://www.letteratura.rai.it/articoli/gabriele-tinti-la-nostalgia-del-poeta-omaggio-a-giorgio-de-chirico/34199/default.aspx|title=Gabriele Tinti: La nostalgia del poeta, Omaggio a Giorgio de Chirico|last=Letteratura|first=Rai|website=Il portale sulla letteratura di Rai Cultura|language=it-IT|access-date=2019-01-22}}</ref><ref>{{Cite web|url=http://www.gabrieletinti.com/readings-by-gabriele-tinti/|title=Readings|website=Gabriele Tinti|language=en-GB|access-date=2019-01-22}}</ref>

The box art for Fumito Ueda's PlayStation 2 game ''Ico'' sold in Japan and Europe was strongly influenced by de Chirico.<ref>{{cite web | url = http://www.1up.com/do/feature?pager.offset=2&cId=3143702 | title = A Giant in the Making | publisher = 1UP | date = 2005-09-23 | access-date = June 19, 2013 | first = James | last = Mielke | author2 = Rybicki, Joe | archive-date = 2011-05-22 | archive-url = https://web.archive.org/web/20110522145003/http://www.1up.com/do/feature?pager.offset=2&cId=3143702 }}</ref> The cover art of New Order's single "Thieves Like Us" is based on de Chirico's painting ''The Evil Genius of a King''.<ref>{{Cite book |date=2004-06-01 |title=No more rules: graphic design and postmodernism}}</ref> The music video for the David Bowie song "Loving the Alien" was partly influenced by de Chirico. Bowie was an admirer of his genderless tailors' dummies.<ref>{{Cite book|last=Paglia|first=Camille|url=https://books.google.com/books?id=Ct1GDwAAQBAJ|title=Provocations: Collected Essays on Art, Feminism, Politics, Sex, and Education|date=2019-09-17|publisher=Knopf Doubleday Publishing Group|isbn=978-0-525-43386-6|language=en}}</ref> A 2018 study by researchers from the Magna Græcia University, published in ''Frontiers in Neurology'', suggested that de Chirico suffered from Alice in Wonderland syndrome (AIWS),<ref name="chirchiglia">{{cite journal |last1=Chirchiglia |first1=D |last2=Chirchiglia |first2=P |last3=Marotta |first3=R |year=2018 |title=De Chirico and Alice in Wonderland Syndrome: When Neurology Creates Art |journal=Frontiers in Neurology |volume=9 |issue=553 |doi=10.3389/fneur.2018.00553 |doi-access=free |pmc=6099085 }}</ref> a neurological disorder affecting a person's perception, leading the individual to perceive the sizes of some parts of their body and other objects, in an unreal way, like Alice in Lewis Carroll's novel.<ref>{{cite journal|last=Todd|first=J|date=1955|title=The syndrome of Alice in Wonderland|journal=Canadian Medical Association Journal|volume=73|issue=9|pages=701–4|pmc=1826192|pmid=13304769}}</ref><ref>{{cite journal|vauthors=Cau C|date=1999|title=La sindrome di Alice nel paese delle meraviglie|trans-title=The Alice in Wonderland syndrome|url=https://www.minervamedica.it/it/riviste/minerva-medica/articolo.php?cod=R10Y1999N10A0397|journal=Minerva Medica|language=it|volume=90|issue=10|pages=397–401|pmid=10767914}}</ref>

== Honours == * 1958: Member of the Royal Academy of Science, Letters and Fine Arts of Belgium.<ref>Index biographique des membres et associés de l'Académie royale de Belgique (1769–2005), p. 72.</ref> * Académie de France

==Selected works== {{unreferenced section|date=August 2019}} [[File:The Red Tower by Giorgio de Chirico.jpg|thumb| upright=1.3<!--sized to match the area of the upright images-->|''The Red Tower'' (1913), Peggy Guggenheim Collection]] * ''Flight of the Centauri'', ''Enigma of an Autumn Afternoon'' and ''Enigma of the Oracle'' (1909) * ''Ritratto di Andrea de Chirico'' (Alias Alberto Savinio) (1909–1910) * ''The Enigma of the Hour'' (1911) * ''The Nostalgia of the Infinite'' (1911), or 1912–1913 * ''Melanconia'', ''The Enigma of the Arrival'' and ''La Matinée Angoissante'' (1912) * ''The Soothsayer's Recompense'', ''The Red Tower'', ''Ariadne'', ''The Awakening of Ariadne'', ''The Uncertainty of the Poet'', ''La Statua Silenziosa'', ''The Anxious Journey'', ''Melancholy of a Beautiful Day'', ''Le Rêve Transformé'', and ''Self-Portrait'' (1913) * ''The Anguish of Departure'' (begun in 1913), ''Portrait of Guillaume Apollinaire'', ''The Nostalgia of the Poet'', ''L'Énigme de la fatalité'', ''Gare Montparnasse (The Melancholy of Departure)'', ''The Song of Love'', ''The Enigma of a Day'', ''The Philosopher's Conquest'', ''The Child's Brain'', ''The Philosopher and the Poet'', ''Still Life: Turin in Spring'', ''Piazza d'Italia (Autumn Melancholy)'', and ''Melancholy and Mystery of a Street'' (1914) * ''The Evil Genius of a King'' (begun in 1914), ''The Seer'' (or ''The Prophet''), ''Piazza d'Italia'', ''The Double Dream of Spring'', ''The Purity of a Dream'', ''Two Sisters (The Jewish Angel)'' and ''The Duo'' (1915) * ''Andromache'', ''The Melancholy of Departure'', ''The Disquieting Muses'', ''Metaphysical Interior with Biscuits'' (1916) * ''Metaphysical Interior with Large Factory'' and ''The Faithful Servitor'' (both began in 1916), ''The Great Metaphysician'', ''Ettore e Andromaca'', ''Metaphysical Interior'', ''Geometric Composition with Landscape and Factory'' and ''Great Metaphysical Interior'' (1917) thumb|''Il grande metafisico'' (''The Grand Metaphysician''), 1917, oil on canvas, 104.8 x 69.5 cm * ''Il grande metafisico'' (''The Grand Metaphysician'') (1917) * ''Metaphysical Muses'' and ''Hermetic Melancholy'' (1918) * ''Still Life with Salami'' and ''The Sacred Fish'' (1919) * ''Self-portrait'' (1920)

[[File:The Disquieting Muses.jpg|thumb|''The Disquieting Muses'' (1947), replica of the 1916 painting, University of Iowa Museum of Art]] * ''Italian Piazza'', ''Maschere'' and ''Departure of the Argonauts'' (1921) * ''The Great Tower'' (1921) * ''The Prodigal Son'' (1922) * ''Florentine Still Life'' (c. 1923) * ''The House with the Green Shutters'' (1924) * ''The Great Machine'' (1925) Honolulu Museum of Art * ''Au Bord de la Mer'', ''Le Grand Automate'', ''The Terrible Games'', ''Mannequins on the Seashore'' and ''The Painter'' (1925) * ''La Commedia e la Tragedia'' (''Commedia Romana''), ''The Painter's Family'' and ''Cupboards in a Valley'' (1926) * ''L'Esprit de Domination'', ''The Eventuality of Destiny (Monumental Figures)'', ''Mobili nella valle'' and ''The Archaeologists'' (1927) * ''Temple et Forêt dans la Chambre'' (1928) * ''Gladiatori (began in 1927)'', ''The Archaeologists IV (from the series Metamorphosis)'', ''The return of the Prodigal son I (from the series Metamorphosis)'' and ''Bagnante (Ritratto di Raissa)'' (1929) * ''I fuochi sacri'' (for the ''Calligrammes'') 1929 * Illustrations from the book ''Calligrammes'' by Guillaume Apollinaire (1930) * ''I Gladiatori (Combattimento)'' (1931) * ''Milan Cathedral'', 1932 * ''Cavalos a Beira-Mar'' (1932–1933) * ''Cavalli in Riva al Mare'' (1934) * ''La Vasca di Bagni Misteriosi'' (1936) * ''The Vexations of The Thinker'' (1937) * ''Self-portrait'' (1935–1937) * ''Archeologi'' (1940) * Illustrations from the book ''L'Apocalisse'' (1941) * ''Portrait of Clarice Lispector'' (1945) * ''Villa Medici – Temple and Statue'' (1945) * ''Minerva'' (1947) * ''Metaphysical Interior with Workshop'' (1948) * ''Venecia, Puente de Rialto'' * ''Fiat'' (1950) * ''Piazza d'Italia'' (1952) * ''The Fall – Via Crucis'' (1947–54) * ''Venezia, Isola di San Giorgio'' (1955) * ''Salambò su un cavallo impennato'' (1956) * ''Metaphysical Interior with Biscuits'' (1958) * ''Piazza d'Italia'' (1962) * ''Cornipedes'', (1963) * ''La mia mano sinistra'', (1963), Chianciano Museum of Art * ''Manichino'' (1964) * ''Ettore e Andromaca'' (1966) * ''The Return of Ulysses'', ''Interno Metafisico con Nudo Anatomico'' and ''Mysterious Baths – Flight Toward the Sea'' (1968) * ''Il rimorso di Oreste'', ''La Biga Invincibile'' and ''Solitudine della Gente di Circo'' (1969) * ''Orfeo Trovatore Stanco'', ''Intero Metafisico'' and ''Muse with Broken Column'' (1970) * ''Metaphysical Interior with Setting Sun'' (1971) * ''Sole sul cavalletto'' (1973) * ''Mobili e rocce in una stanza'', ''La Mattina ai Bagni misteriosi'', ''Piazza d'Italia con Statua Equestre'', ''La mattina ai bagni misteriosi'' and ''Ettore e Andromaca'' (1973) * ''Pianto d'amore – Ettore e Andromaca'' and ''The Sailors' Barracks'' (1974)

==Writings== * ''Hebdomeros'' (1929) * ''The Memoirs of Giorgio De Chirico'', trans. Margaret Crosland (Da Capo Press 1994) * ''Geometry of Shadows'' (poems), trans. Stefania Heim (Public Space Books 2019)

== Films about de Chirico == * ''Aenigma Est'' (1990) – Director: Dimitri Mavrikios; Screenplay: Thomas Moschopoulos, Dimitri Mavrikios{{citation needed|date=August 2019}} * ''Giorgio de Chirico: Argonaut of the Soul'' (2010) – documentary film: Directors and screenplay: Kostas Anestis and George Lagdaris<ref>{{Cite web|url=https://vimeo.com/9674016|title=Giorgio de Chirico – Argonaut of the soul|access-date=24 May 2023|via=vimeo.com}}</ref><ref>{{cite web |url=http://www.filmfestivalworld.com/film/Giorgio_de_Chirico_Argonaut_of_the_Soul/ |title=Giorgio de Chirico - Argonaut of the Soul |publisher=Film Festival World |date=7 September 2010 |access-date=19 June 2013 |archive-url=https://web.archive.org/web/20130603080256/http://www.filmfestivalworld.com/film/Giorgio_de_Chirico_Argonaut_of_the_Soul/ |archive-date=3 June 2013 }}</ref>

==References== {{reflist}}

'''Bibliography''' * {{cite book|last=Kelley|first=Robin|author-link=Robin Kelley|year=2009|title=Thelonious Monk: The Life and Times of an American Original|publisher=Simon & Schuster|isbn=978-1-4391-9049-4}} * {{cite journal|journal=The International Review of African American Art|volume=14|publisher=Hampton University Museum|last=O'Meally|first=Robert G.|title=Jazz Albums as Art: Some Reflections|issue=1|year=1997}}

==Further reading== * Baker, Kenneth (1982) [https://archive.org/details/sim_boston-phoenix_1982-05-04_11_18/page/2/mode/1up The space behind the frame: Giorgio de Chirico’s extra dimension] ''The Boston Phoenix'' * Baldacci, Paolo & Fagiolo Dell'Arco, Maurizio (1982), ''Giorgio de Chirico Parigi 1924–1930'', Galleria Philippe Daverio, Milano * Brandani, Edoardo (a cura di), Di Genova, Giorgio, Bonfiglioli, Patrizia (1999), ''Giorgio de Chirico, catalogo dell'opera grafica 1969–1977'', Edizioni Bora, Bologna * Bruni, C., ''Cat. generale di opere di Giorgio de Chirico'', Milano 1971–74 * Ciranna, A., ''Giorgio de Chirico. Cat. delle opere grafiche 1921 a 1969'', Milano, 1969 * Calvesi, Maurizio, & Mori, Gioia (2007), ''De Chirico'', Giunti Editore, Firenze, 1988 * ''de Chirico, gli anni Venti'', curated by Maurizio Fagiolo dell'Arco, exhibition catalogue, Galleria dello Scudo, Verona, 1986–1987; Mazzotta, Milan, 1986 * Fagiolo Dell'Arco, Maurizio (1999), ''L'opera completa di de Chirico 1908–1924'', Rizzoli, Milano, 1984 * Fagiolo Dell'Arco, Maurizio (1991), ''Giorgio de Chirico carte'', Extra Moenia Arte Moderna, Todi * Fagiolo Dell'Arco, Maurizio, & Cavallo, Luigi (1985), ''De Chirico. Disegni inediti (1929)'', Edizioni grafiche Tega, Milano * Gimferrer, Pere (1988), ''De Chirico, 1888–1978, opere scelte'', Rizzoli, Milano * ''de Chirico, gli anni Trenta'', curated by Maurizio Fagiolo dell'Arco, exhibition catalogue, Galleria dello Scudo and Museo di Castelvecchio, Verona, 1998–1999; Mazzotta, Milan, 1998 * Merjian, Ara H. (2014) ''Giorgio de Chirico and the Metaphysical City: Nietzsche, Modernism'', Paris, New Haven (Yale University Press), 2014 * Mori, Gioia (2007), ''De Chirico metafisico'', Giunti, Firenze * Noel-Johnson Victoria, [http://www.fondazionedechirico.org/pubblicazioni/autori/de-chirico-and-the-united-kingdom-c-1916-1978/?lang=en ''Giorgio de Chirico and the United Kingdom (c. 1916–1978)''], Maretti Editore, Falciano, 2017. {{ISBN|978-88-98855-37-7}}.<!--in external links<ref>[http://www.scuola.rai.it/articoli/il-rapporto-tra-giorgio-de-chirico-e-linghilterra/39267/default.aspx "Il rapporto tra Giorgio de Chirico e l`Inghilterra"]. Rai Scuola. Retrieved 4 August 2019.</ref>--> * Noel-Johnson Victoria, ''Giorgio de Chirico: The Changing Face of Metaphysical Art'', Skira, Milano, 2019. {{ISBN|88-572-4058-4}} * Noel-Johnson Victoria, [http://www.fondazionedechirico.org/wp-content/uploads/10.-Metaphysical-Art-n.11-13_V.Noel-Johnson_2014_ENG.pdf ''De Chirico's Formation in Florence (1910–1911): The Discovery of the B.N.C.F Library Registers''] {{Webarchive|url=https://web.archive.org/web/20190807082731/http://www.fondazionedechirico.org/wp-content/uploads/10.-Metaphysical-Art-n.11-13_V.Noel-Johnson_2014_ENG.pdf |date=2019-08-07 }}, (''Metaphysical Art Journal'', n. 11–13), Maretti Editore, Falciano, 2014. * Owen, Maurice (1983) [http://www.owen-artresearch.uk/custom/artresearch/dechirico/text/spirits_1.html "The Spirits Released: De Chirico and Metaphysical Perspective"] * Owen, Maurice (1995) [http://www.owen-artresearch.uk/custom/artresearch/dechirico/gender_txt/gender_1.html "Railway Stations and Minotaurs: gender in the paintings of Giorgio de Chirico and Pablo Picasso"] * Pontiggia, Elena, & Gazzaneo, Giovanni (2012), ''Giorgio de Chirico. L'Apocalisse e la luce'', Silvana Editoriale, Cinisellobalsamo * Soby, J. Th., ''Giorgio de Chirico'', New York, 1955 * Schmied, W., ''Giorgio de Chirico, Catalogue personale'', Milano, 1970

==External links== {{Commons}} {{Wikiquote}} * [http://www.archivioartemetafisica.org/ Metaphysical Art Archive] * [http://www.moma.org/collection/artist.php?artist_id=1106 Giorgio de Chirico at MoMA], biography and image gallery * [http://www.fondazionedechirico.org/?lang=en Chirico] at fondazionedechirico.org * [http://www.owen-artresearch.uk/custom/artresearch/dechirico/cover/index.html Giorgio de Chirico: ''Metaphysical Perspective''] * [http://www.scuola.rai.it/articoli/il-rapporto-tra-giorgio-de-chirico-e-linghilterra/39267/default.aspx "Il rapporto tra Giorgio de Chirico e l`Inghilterra"] {{Webarchive|url=https://web.archive.org/web/20190805103504/http://www.scuola.rai.it/articoli/il-rapporto-tra-giorgio-de-chirico-e-linghilterra/39267/default.aspx |date=2019-08-05 }}. Rai Scuola * [http://survisionmagazine.com/Issue7/giorgiodechirico.htm ''Speranze''] by Giorgio de Chirico in English translation * [https://www.cabinetmagazine.org/issues/67/merjian.php "REVOLUTIONARY ABSENCE: Giorgio de Chirico and the early Situationist International" by Ara H. Merjian] from Issue 67 of ''Cabinet Magazine'' (2019–20)

{{Giorgio de Chirico}} {{Novecento Italiano}} {{Mathematical art}} {{Authority control}}

{{DEFAULTSORT:Chirico, Giorgio de}} Category:Giorgio de Chirico Category:1888 births Category:1978 deaths Category:20th-century Italian painters Category:Academy of Fine Arts, Munich alumni Category:Ballet designers Category:Italian expatriates in Greece Category:Italian male painters Category:20th-century Greek male artists Category:20th-century Greek painters Category:Greek male painters Category:Members of the Royal Academy of Science, Letters and Fine Arts of Belgium Category:People from Volos Category:School of Paris Category:Surrealist artists Category:Italian surrealist artists Category:Greek surrealist artists Category:Writers from Volos