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| | | | Giorgio de Chirico: A Metaphysical JourneyPaintings 1909-1973Text by Gerd Roos.
As a forerunner of Pittura metafisica (Metaphysical art), Greek-Italian painter Giorgio de Chirico (1888-1978) exerted a powerful influence on the subsequent development of Surrealism, New Objectivity and Magic Realism. For example, well before the Surrealists, de Chirico had discovered the power of the unconscious and the independent language of objects. Influenced by the symbolic painting of Arnold Böcklin and the dream pictures of Max Klinger, he created his provocative city views of deserted or statically enlivened squares. At the same time, he made ironically intellectual self-portraits that now form a large part of the artist's complete oeuvre. In this enlightening volume, curator and de Chirico scholar Gerd Roos discusses the artist's development as it is reflected in his times; his break with his innovative, seminal painting style; and his turn to a traditional, academic concept of art.
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| | | | |  | THE MUSEUM OF MODERN ART, NEW YORKISBN: 9780870708725
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|  | EXACT CHANGEISBN: 9781878972064
USD $17.95 | CAN $25.5 UK £ 15.99Pub Date: 2/2/2004
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FORMAT: Hbk, 8.75 x 10.75 in. / 136 pgs / 33 color / 53 b&w.
LIST PRICE: U.S. $59.95
LIST PRICE: CANADA $70
ISBN: 9783865604972
PUBLISHER: Walther König, Köln
AVAILABLE: 3/1/2009
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Out of print
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| Giorgio de Chirico: A Metaphysical Journey
Paintings 1909-1973 Published by Walther König, Köln.
Text by Gerd Roos. As a forerunner of Pittura metafisica (Metaphysical art), Greek-Italian painter Giorgio de Chirico (1888-1978) exerted a powerful influence on the subsequent development of Surrealism, New Objectivity and Magic Realism. For example, well before the Surrealists, de Chirico had discovered the power of the unconscious and the independent language of objects. Influenced by the symbolic painting of Arnold Böcklin and the dream pictures of Max Klinger, he created his provocative city views of deserted or statically enlivened squares. At the same time, he made ironically intellectual self-portraits that now form a large part of the artist's complete oeuvre. In this enlightening volume, curator and de Chirico scholar Gerd Roos discusses the artist's development as it is reflected in his times; his break with his innovative, seminal painting style; and his turn to a traditional, academic concept of art.
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