De Chirico, Max Ernst, Magritte, Balthus : a look into the invisible

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書誌事項

De Chirico, Max Ernst, Magritte, Balthus : a look into the invisible

catalogue edited by Paolo Baldacci

Mandragora, c2010

  • : pbk

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注記

Catalog of an exhibition held at Palazzo Strozzi, Florence, Italy, Feb. 26-July 18, 2010

A slip attached to p. [150]: Note: Giorgio de Chirico declared the Study for "La récompense du devin [The Soothsayer's recompense]", which appears on page 150 (cat. no. 6), a fake upon seeing a photographic reproduction of it. Despite this, the curators of the exhibition and the editor of this catalogue believe it to be authentic

Includes bibliographical references

内容説明・目次

内容説明

From the beginning of his career, Giorgio de Chirico decided that his painting should "show what cannot be seen", because there was no point in depicting the things that were already visible in nature. Magritte, in fact, when he first encountered the painting of De Chirico in 1925, said it gave him the sensation of being able "to see thought". Famous artists and poets such as Guillaume Apollinaire and Andre Breton immediately recognised their own aesthetics in his estranged and enigmatic vision of the world and his extraordinarily lucid and penetrating representation of things. This opened the way to all the movements that made European art so vital between World War I and World War II: Dada, Surrealism, Magic Realism and Neoromanticism. This book includes some of the best known De Chirico paintings from his Metaphysical period (L enigme de l arrivee et de l apres-midi, La nostalgie de l infini and La serenite du savant, among others), Metaphysical paintings by Carra (Il gentiluomo briaco, L ovale delle apparizioni), still lifes by Morandi, masterpieces by Rene Magritte (La condition humaine, Le sens de la nuit and La clef des songes, among others), Max Ernst (Oedipus Rex and Vision provoquee par l aspect nocturne de la porte Saint-Denis) and Balthus (from Le passage du Commerce-Saint-Andre to Le cafe de l Odeon) accompanied, in a sort of dialogue, by extremely significant works by Niklaus Stoecklin, Arturo Nathan, Pierre Roy and Alberto Savinio. A special section is dedicated to drawings by De Chirico and Max Ernst.

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