Giorgio De Chirico, Manichini

Photogallery

Giorgio de Chirico, Manichini
Giorgio de Chirico, Manichini
Rooms 21 and 22. Painting in Italy between the wars

Around the middle of the 1920s, Giorgio de Chirico matured certain themes that already from the beginning of the decade had marked a profound difference with regard to his poetic metaphysical work. Classical sources and the tradition of Italian painting from 1400 to 1600 became his preferred points of reference, and subjects that he had previously focused on, such as the “mannequins”, underwent a metamorphosis following the interpretations the artist had given to them during his metaphysical phase and in the “Plastic Values” period. Guardians of classicism, which is concretely deposited in their lap here, they are depicted alone or in pairs, seated or reclining, and with melancholy attitudes, inside suffocating empty spaces. This gouache, painted with rapid overlapping brushstrokes lending the surface a luminous vibrancy, may be linked to the 1930 painting La Confessione, which the artist presented in his monographic exhibition in Florence in 1932.