Daisy’s Reviews > Giorgio de Chirico: The Changing Face of Metaphysical Art > Status Update
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In Apollinaire's review of de Chirico's work on show at the Salon des Indépendants of 1914, he observed how "(the strangeness of the plastic enigmas that M. de Chirico offers to us is still lost upon the majority. It is that most modern of resources, surprise, upon which this painter draws in order to depict the fatal character of modern things."
— Mar 16, 2024 01:17PM
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Daisy
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O Quetzalcoatl
Strident rigid banner of zinc
black above the roof tiles of my paternal
house, which I will never see again.
Magnetic pole in the snowy air.
On the sidewalk white with dust and cold, étrange jouet, of my already far-off
childhood.
I think of a city in Alaska on a winter
morning, white below the white
mountains, near the dark
sea.
— Mar 18, 2024 06:37PM
Strident rigid banner of zinc
black above the roof tiles of my paternal
house, which I will never see again.
Magnetic pole in the snowy air.
On the sidewalk white with dust and cold, étrange jouet, of my already far-off
childhood.
I think of a city in Alaska on a winter
morning, white below the white
mountains, near the dark
sea.
Daisy
is on page 15 of 247
Heraclitus "teaches us that time does not exist and that the past is equal to the future on the great curve of eternity. Perhaps the Romans wanted the image of Janus, the double-faced god (Janus Bifrons), to mean the same thing; and each night a dream, during the deepest hour of rest, shows us that the past is equal to the future, memory that mixes with prophecy in a mysterious marriage."
— Mar 16, 2024 02:09PM
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Mar 16, 2024 01:21PM
Discussing thr paintings’ size in a letter to his close friend Fritz Gartz soon after discovering Metaphysical art, de Chirico enthused: "My paintings are small (the biggest is 50 x 70 cm, but each of them is an enigma, each contains a poem, an atmospherel,and a promise that you cannot find in other paintings. It brings me immense joy to have painted them - when I exhibit them ... it will be a revelation for the whole world"
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Forming the bedrock of de Chirico's thinking and artistic production from 1910 on-wards, his investigation into the triple alliance of surprise-discovery-revelation was shaped by his reading of late 19th-century philosophy (particularly by Nietzsche, and to a lesser extent, Schopenhauer and Weininger) whilst living in Munich, Milan and Florence (c. 1908-10)
