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De Chirico's mysterious paintings had a profound influence on modern art but one key to understanding them is an early series of eight paintings on the mythical Greek princess Ariadne. This volume provides an overall account of De Chirico's career.
A key to understanding De Chirico's uvre is an early series of eight paintings of the mythical Greek princess Ariadne, which had a powerful impact on such Surrealist painters as Salvador Dali, Max Ernst, Rene Magritte and Yves Tanguy. Including an unpublished text by Max Ernst, this is a landmark publication.
Recent years have seen an increase of interest in classicism and the reception and survival of antiquity. Classical Reception Studies is a rapidly developing field of research and teaching, and a growing number of new scholars are investigating issues of reception of classical texts, ideas, performance, and material culture across different cultural contexts and in different media. This volume adds new perspectives in this growing field of scholarship. This collection of essays explores the uses of the past from a wide range of perspectives. The papers are drawn from a spectrum of cultures and chronological periods; from medieval to modern times, from Italian to Byzantine, from French to British. The characters involved in each case study accessed the past through different means, employing varying combinations of texts, oral traditions, iconographic representations, and visible remains of the landscape. It is a snapshot of a field in movement, illustrative of current directions and hopeful of producing new ones. The legacy of antiquity is omnipresent, and is as multifaceted as suggested by the wide range of the papers. This volume presents new perspectives, dealing with ever-elusive enigmas and opening the way for future research and investigation to all those who seek to explore the constant fascination with the antique.
In the spring of 1900, British archaeologist Arthur Evans began to excavate the palace of Knossos on Crete, bringing ancient Greek legends to life just as a new century dawned amid far-reaching questions about human history, art, and culture. With Knossos and the Prophets of Modernism, Cathy Gere relates the fascinating story of Evans’s excavation and its long-term effects on Western culture. After the World War I left the Enlightenment dream in tatters, the lost paradise that Evans offered in the concrete labyrinth—pacifist and matriarchal, pagan and cosmic—seemed to offer a new way forward for writers, artists, and thinkers such as Sigmund Freud, James Joyce, Giorgio de Chirico, Robert Graves, and Hilda Doolittle. Assembling a brilliant, talented, and eccentric cast at a moment of tremendous intellectual vitality and wrenching change, Cathy Gere paints an unforgettable portrait of the age of concrete and the birth of modernism.
This illustrated book focuses on the aesthetic impact ancient art had on twentieth-century artists Picasso, de Chirico, Léger, and Picabia between 1906 and 1936.
Due to the implacable, enigmatic nature of Giorgio de Chiricos vision, there has been numerous, conflicting interpretations of his painting. This discussion considers the artists integration of Nietzschean philosophy, particularly his perspectivism, the symbolism of Grecian myths and his enigmatic figuration. These ingredients are used as an insight into de Chirico's aesthetic achievements. The artists work is characterized by a consideration of appearance and reality; his seemingly straightforward images suggest a sense of accessibility, yet they are ultimately irreducible to knowing. His haunting images include references to both the Italian Risorgimento and Nietzsches Birth of Tragedy, and these are used in part as an interpretive framework. De Chirico's fascination with the poetic content of Nietzschean themes is particularly relevant in the light of the Apollonian-Dionysian disunity; a work that acts as a touchstone to the understanding of de Chiricos visual mystery.
"The reasons for the conspicuous popularity of Ovid--his life as well as his works--at the turn of the new millennium bear investigation.... This book speaks of the new bodies assumed in the twentieth century by the poems and tales to which Ovid gave their classic form--including prominently the account of his own life, which has been hailed by many writers of our time as the archetype of exile.... I intend to suggest some of the reasons for Ovid's appeal to different writers and different generations."--from the PrefaceTheodore Ziolkowski approaches Ovid's Latin poetry as a comparatist, not as a classicist, and maintains that the contextualization of individual works helps place them in a larger tradition. Covering the period 1912-2002, Ovid and the Moderns deals with the reception of Ovid and of Ovid's works in literature. After beginning with a discussion of Giorgio de Chirico's Ariadne paintings of 1912 and the Hofmannsthal-Strauss opera Ariadne auf Naxos, Ziolkowski considers European literary landmarks from the High Modernism of Joyce, Kafka, Mandelstam, and Pound, by way of the mid-century exiles, to postmodernism and the century's end, when a surge of interest in Ovid was fueled by a new generation of translations. One of Ziolkowski's conclusions is that the popularity of Ovid alternates in a regular rhythm and for definable reasons with that of Virgil.
Minos and the Moderns considers three mythological complexes that enjoyed a unique surge of interest in early twentieth-century European art and literature: Europa and the bull, the minotaur and the labyrinth, and Daedalus and Icarus. All three are situated on the island of Crete and are linked by the figure of King Minos. Drawing examples from fiction, poetry, drama, painting, sculpture, opera, and ballet, Minos and the Moderns is the first book of its kind to treat the role of the Cretan myths in the modern imagination.Beginning with the resurgence of Crete in the modern consciousness in 1900 following the excavations of Sir Arthur Evans, Theodore Ziolkowski shows how the tale of Europa-in poetry, drama, and art, but also in cartoons, advertising, and currency-was initially seized upon as a story of sexual awakening, then as a vehicle for social and political satire, and finally as a symbol of European unity. In contast, the minotaur provided artists ranging from Picasso to Durrenmatt with an image of the artist's sense of alienation, while the labyrinth suggested to many writers the threatening sociopolitical world of the twentieth century. Ziolkowski also considers the roles of such modern figures as Marx, Nietzsche, and Freud; of travelers to Greece and Crete from Isadora Duncan to Henry Miller; and of the theorists and writers, including T. S. Eliot and Thomas Mann, who hailed the use of myth in modern literature.Minos and the Moderns concludes with a summary of the manners in which the economic, aesthetic, psychological, and anthropological revisions enabled precisely these myths to be taken up as a mirror of modern consciousness. The book will appeal to all readers interested in the classical tradition and its continuing relevance and especially to scholars of Classics and modern literatures.