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We find here an immense diversity of poetic thought that will surely attract readers of all tastes and temperament.
Painted in Paris on the eve of World War One, the Metaphysical cityscapes of Giorgio de Chirico (1888-1978) redirected the course of modernist painting and the modern architectural imagination alike. Giorgio de Chirico and the Metaphysical City examines the two most salient dimensions of the artist’s early imagery: its representations of architectural space and its sustained engagement with the philosophy of Friedrich Nietzsche. Centering upon a single painting from 1914 – deemed by the painter “the fatal year” – each chapter examines why and how de Chirico’s self-declared “Nietzschean method” takes architecture as its pictorial means and metaphor. The first, full-length study in English to focus on the painter’s seminal work from pre-war Paris, the book places de Chirico’s “literary” images back in the context of the city’s avant-garde, particularly the circle of Guillaume Apollinaire. Merjian’s study sheds light on one of the most influential and least understood figures in 20th-century aesthetics, while also contributing to an understanding of Nietzsche’s paradoxical consequences for modernism.
Gathered from early twentieth-century Italian magazines, manuscripts, correspondence, television recordings, and ephemeral art volumes, Geometry of Shadows is the first comprehensive collection of Giorgio de Chirico's Italian poetry, with award-winning poet Stefania Heim's translations presented alongside the Italian originals.
"The unexpected encounter of a rubber glove, a green ball, and the head from the classical statue gives rise to one of the most compelling paintings in the history of modernist art: Giorgio de Chirico's Song of Love (1914). This uncanny image exemplifies what de Chirico called 'metaphysical' painting, which creates a disturbing sense of unreality, outside the usual logics of space and time, through the novel depiction of ordinary things. Emily Braun's essay explores the work's enigmatic motifs, showing how their roots range from the ancient culture of the Mediterranean, through the commercial scenarios de Chirico observed in the streets of Paris in the years around World War I, to the work of the avant-garde painters and poets of the time. The Song of Love continues to captivate viewers as de Chirico intended, even a century after it was made." - Back cover.
In this book, Giorgio de Chirico (1888-1978) recounts his early upbringing in Greece and first instruction in drawing at the Athens Polytechnic, his studies in Munich, his impressions of Italy, and his 1911 move to Paris. He relates vivid anecdotes of various Paris artists and personalities, notably Apollinaire, Cocteau, Derain, and Paul Guillaume, giving the key to incidents in Hebdomeros. He describes his sevice in the Italian Army in the First World War, his return to Paris, his association with the surrealist movement, and his subsequent disillusionment and self-isolation.
From the beginning of his career, Giorgio de Chirico decided that his painting should show what
The Nobel Prize-winning author distills his wide experience of countries and peoples into a moving account of the rites of passage endured by all people and all communities undergoing change or decay. • "Naipaul's finest work." —Chicago Tribune "A subtly incisive self-reckoning." —The Washington Post Book World The story of a writer’s singular journey – from one place to another, and from one state of mind to another. At the midpoint of the century, the narrator leaves the British colony of Trinidad and comes to the ancient countryside of England. And from within the story of this journey – of departure and arrival, alienation and familiarity, home and homelessness – the writer reveals how, cut off from his “first” life in Trinidad, he enters a “second childhood of seeing and learning.” Clearly autobiographical, yet woven through with remarkable invention, The Enigma of Arrival is as rich and complex as any novel we have had from this exceptional writer. "The conclusion is both heart-breaking and bracing: the only antidote to destruction—of dreams, of reality—is remembering. As eloquently as anyone now writing, Naipaul remembers." —Time "Far and away the most curious novel I've read in a long time, and maybe the most hypnotic book I've ever read." —St. Petersburg Times
Giorgio de Chirico (1888-1978) was best known for his metaphysical paintings, but he also wrote poems, articles about art, an autobiography, and the first surrealist novel. Even more mysterious than the paintings, is the man himself: secretive, self-centered and contradictory, supercritical, ironic, and humorless, yet creative in ways he probably hardly understood. He did not share the Surrealists' overt preoccupation with the erotic, but was obsessed with memories of ancient mythology, 19th century German philosophy, metaphysics, and the secrets of creativity. With these obsessions, he tried, unconsciously, to solve the problems of his own sexuality which he concealed within. A loner, who never formally aligned himself with the Surrealists, or any other artistic movement, he produced several thousand works of art, with many changes of style. These were praised by Guillaume Apollinaire, Andre Breton, Max Ernst, and paul Eluard. He has remained one of the most baffling and memorable of those associated with the Surrealists.