Frasi di Giorgio De Chirico

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Giorgio De Chirico

Data di nascita: 10. Luglio 1888
Data di morte: 20. Novembre 1978

Giorgio de Chirico è stato un pittore e scrittore italiano, principale esponente della corrente artistica della pittura metafisica.

Autori simili

Frasi Giorgio De Chirico

„Un'opera d'arte per divenire immortale deve sempre superare i limiti dell'umano senza preoccuparsi né del buon senso né della logica. citazione necessaria“

— Giorgio De Chirico

Sull'arte

„La potenza intellettuale di un uomo si misura dalla dose di umorismo che è capace di utilizzare. “

— Giorgio De Chirico

Sulla pace

„Un buon artista cerca di lavorare bene, sia col fascio che con la stella rossa, con la repubblica o con la monarchia. Nell'arte si esprimono solo il valore e il temperamento dell'individuo.“

— Giorgio De Chirico

Sull'arte

„Dovete aver notato che da qualche tempo c'è qualcosa di cambiato nelle arti; non parliamo di neoclassicismo, di ritorno ecc.; vi sono degli uomini, dei quali probabilmente anche voi fate parte, che, arrivati a un limite della loro arte, si sono domandati: dove andiamo? Hanno sentito il bisogno di una base più solida; non hanno rinnegato nulla... Ma un problema mi tormenta da circa tre anni: il problema del mestiere: è per questo che mi sono messo a copiare nei musei.“

— Giorgio De Chirico
da una lettera pubblicata su Littérature

Sugli uomini, Sull'arte

„Perché un'opera d'arte sia veramente immortale, deve uscire completamente dai confini dell'umano: l'intelligenza media e la logica le nuocciono. La concezione di un'opera d'arte che afferra una cosa che come tale non ha alcun senso, alcun tema, che dal punto di vista della logica umana non vuole assolutamente dir nulla, io dico che una tale rivelazione o concezione dev'essere in noi così forte, deve apportare tal gioia o tale dolore, che noi siamo costretti a dipingere, come il morto di fame a addentare un pezzo di pane che gli capita tra le dita.“

— Giorgio De Chirico

Sulla fame, Sul dolore, Sull'arte

„Ieri, nel pomeriggio passando per una via che s'allunga stretta e fiancheggiata da case alte e scure vidi apparire in fondo una colonna sormontata da una statua che seppi poi essere quella dell'Ariosto. Visto così, tra quelle due pareti di pietra annerata – che parevano muri d'un santuario antico – il monumento assumeva un che di misterioso e solenne, e il passante tampoco metafisicizzante si sarebbe aspettati di udire la voce di un nume vaticinare d'in fondo la piazza.“

— Giorgio De Chirico

„Painting is the magic art, the fire set alight on the windows of the rich dwelling, as on those of the humble hovel, from the last rays of the setting sun, it is the long mark, the humid mark, the fluent and still mark that the dying wave etches on the hot sand, it is the darting of the immortal lizard on the rock burnt by the midday heat, it is the rainbow of conciliation, on sad May afternoons, after the storm has passed, down there, making a dark backdrop to the almond trees in flower, to the gardens with their washed colours, to the ploughmen's huts, smiling and tranquil, it is the livid cloud chased by the vehement blowing of Aeolus enraged, it is the nebulous disk of the fleeting moon behind the ripped-open funereal curtain of a disturbed sky in the deep of night, it is the blood of the bull stabbed in the arena, of the warrior fallen in the heat of battle, of Adonis' immaculate thigh wounded by the obstinate boar's curved tusk, it is the sail swollen with the winds of distant seas, it is the centuries-old tree browned in the autumn..“

— Giorgio de Chirico
Quote from the first lines in De Cirico's essay 'Painting', 1938; from http://www.fondazionedechirico.org/wp-content/uploads/211_Painting_1938_Metaphysical_Art.pdf 'Painting', 1938 - G. de Chirico, presentation to the catalogue of his solo exhibition Mostra personale del pittore Giorgio de Chirico, Galleria Rotta, Genoa, May 1938], p. 211

„I remember one vivid winter’s day at Versailles. Silence and calm reigned supreme,. Everything gazed at me with mysterious, questioning eyes. And then I realized that every corner of the palace, every column, every window possessed a spirit, an impenetrable soul. I looked around at the marble heroes, motionless in the lucid air, beneath the frozen rays of that winter sun which pours down on us 'without love', like perfect song.“

— Giorgio de Chirico
as quoted in Letters of the great artists – from Ghiberti to Gainsborough, Richard Friedenthal, Thames and Hudson, London, 1963, p. 232

„.. I will endeavour to make clear to men of good will what the word 'material' means with regard to painting and that, without the material substance of paint, a painting is not a work of art but merely a decorative object, or rather, if it deals with an invented painting, the value of the image resides in its spiritual content.
In order to be a work of art, a painting must be very well painted and the good quality of the paint depends completely on the material substance of the paint with which it is executed. This matter, which constitutes the substance of painting, is composed of two elements which are equally important and absolutely inseparable: physical substance and metaphysical substance. These two elements complete each other reciprocally and when they are of a superior quality, create a masterpiece by way of their absolute harmony.“

— Giorgio de Chirico
Quote from De Cirico's text 'A DISCOURSE ON THE MATERIAL SUBSTANCE OF PAINT', 1942 http://www.fondazionedechirico.org/wp-content/uploads/541-547Metafisica5_6.pdf, p. 542

„I exhibited three paintings at the Salon d'Automne exhibition [Paris], which is the most interesting exhibition I have seen until now. Much more interesting than the Secession [in München]. My paintings [two words cancelled] were noticed and praised by the art critics. I think I will be very famous here in a few years time. Reading my name in the newspapers and seeing people notice my paintings and write about them has given me new and strange joy. – Paris is a beautiful city. Why do you remain in the monotony of Munich's heavy atmosphere? Here one can find everything one desires. Everything is refined and has spirit and everyday one learns something new.. The French are more intelligent than I thought. They laugh a lot, but they understand better than the Germans what is refined, strange and outside the ordinary.“

— Giorgio de Chirico
Quote from De Chirico's letter to Mr. Fritz Gartz, Paris, 8 Oct. 1912; from LETTERS BY GIORGIO DE CHIRICO TO FRITZ GARTZ, PARIS, 1912-1914 http://www.fondazionedechirico.org/wp-content/uploads/576-579Metafisica7_8.pdf, p. 576

„You misunderstood my words when I said that Michelangelo was a stupid artist... Because I have drunk from another source and a new and marvelous thirst burns my lips – how can I still believe in such artists?! I know what you are thinking when you ask me: 'isn't David a superman? This is how I used to feel, this is what I used to think. The majority of the world's great spirits thought it so.... but now a new air has entered my soul, a new song has reached my ears and the whole world appears totally changed – the autumn afternoon has arrived, the long shadows, the clear air, the serene sky –, in a word: Zarathustra has arrived, do you understand??.... It is only with Nietzsche that I can say I have begun a real life.“

— Giorgio de Chirico
Quote from De Chirico's letter to Mr. Fritz Gartz, Florence, undated, c. 5 Jan. 1911; from LETTERS BY GIORGIO DE CHIRICO, GEMMA DE CHIRICO AND ALBERTO DE CHIRICO TO FRITZ GARTZ, MILAN-FLORENCE, 1908-1911 http://www.fondazionedechirico.org/wp-content/uploads/559-567Metafisica7_8.pdf, p. 564

„A work of art must narrate something that does not appear within its outline. The objects and figures represented in it must likewise poetically tell you of something that is far away from them and also of what their shapes materially hide from us. A certain dog painted by Courbet (French 19th century painter) is like the story of a poetic and romantic hunt. (1919)“

— Giorgio de Chirico
as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 440

„What I have created here in Italy is neither very big nor profound (in the old sense of the word), but formidable. This summer I painted paintings that are the most profound that exist in the absolute. Let me explain these things somewhat.... profoundness as I understand it, and as Nietzsche intended it, is elsewhere than where it has been searched for until now. – My paintings are small (the biggest is 50 x 70 cm), but each of them is an enigma, each contains a poem, an atmosphere (Stimmung) and a promise that you can not find in other paintings. It brings me immense joy to have painted them – when I exhibit them, possibly in Munich this spring, it will be a revelation for the whole world“

— Giorgio de Chirico
Quote from De Chirico's letter to Mr. Fritz Gartz, Florence, 26 Jan. 1910; from LETTERS BY GIORGIO DE CHIRICO, GEMMA DE CHIRICO AND ALBERTO DE CHIRICO TO FRITZ GARTZ, MILAN-FLORENCE, 1908-1911 http://www.fondazionedechirico.org/wp-content/uploads/559-567Metafisica7_8.pdf, p. 562

„It is most important that we should rid art of all that it has contained of ‘recognizable material’ to date, all familiar subject matter, all traditional ideas, all popular symbols must be banished forthwith. More important still, we must hold enormous faith in ourselves; it is essential that the revelation we receive, the conception of an image which embraces a certain thing, which has no sense in itself, which has no subject, which means ‘absolutely nothing’ from the logical point of view.... should speak so strongly in us, evoke such agony or joy, that we feel compelled to paint.“

— Giorgio de Chirico
as quoted in Letters of the great artists – from Ghiberti to Gainsborough, Richard Friedenthal, Thames and Hudson, London, 1963, p . 232

„.. can you [contemporary painters] ever get close, even vaguely, to the solidity, the transparency, the lyric strength of colour, to the clarity, the mystery, the emotion of any of the paintings of Fra Angelico, Piero della Francesca, Botticelli, Dürer, Holbein or of young Raphael? Friends, have you ever realized that with the oil colours used today this is absolutely impossible?... In the museums of Europe I have observed the work of the Flemish painters at length – those earlier, later as well as contemporary to the [brothers] Van Eycks – and I am convinced that the above mentioned brothers were not the discoverers of oil paint in its true sense, as is held today, but that what they did was introduce oil in emulsion with other substances, especially live and fossil resins, into so-called oil tempera emulsion, which was already known in the Flanders, to enable them through the use of veiling to give a greater finish, cleanliness and strength of colour to their painting.
'These oils which are their tempera' said Vasari, speaking of the Flemish [painters] in his Life of Antonello; and without doubt he was alluding to Flemish oil tempera emulsion, but it is sure, absolutely sure, that.... we are dealing with.... a tempera based mixture (egg, glue, resin, tempera etc) in which oil was only used as a means of unity and for the finish of the painting.“

— Giorgio de Chirico
Quote from De Chirico's text 'Pro tempera oratio', c. 1920; from 'PRO TEMPERA ORATIO' http://www.fondazionedechirico.org/wp-content/uploads/475-480Metafisica5_6.pdf, p. 475

„Among the many senses that modern painters have lost, we must number the sense of architecture. The edifice accompanying the human figure, whether alone or in a group, whether in a scene from life or in an historical drama, was a great concern of the ancients. They applied themselves to it with loving and severe spirit, studying and perfecting the laws of perspective. A landscape enclosed in the arch of a portico or in the square or rectangle of a window acquires a greater metaphysical value, because it is solidified and isolated from the surrounding space. Architecture completes nature. (1920)“

— Giorgio de Chirico
as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 440-441