18 March 2016
Portrait of Madame L. Gartzen 1913,
Oil on canvas, 72,5 x 60 cm.
Private Collection, Roma The year 1910 marked not only a turning point in de Chirico’s career but also in the history of art. Following several months living in Florence, the artist experienced his first metaphysical revelation before the dominating statue of Dante and the Basilica of Santa Croce in Piazza Santa Croce. It provided him with “the strange impression that I was seeing everything for the first time. Influenced by 19th century philosophical thought, particularly by Nietzsche, Schopenhauer and Weininger, de Chirico spent the ensuing eight years in Florence (1910-1911), Paris (1911-1915) and Ferrara (1915-1918) lending tangible form to his unique understanding of metaphysics through enigmatic works of his immediate surroundings and everyday objects that harbour an inherent sense of discovery and revelation. His early metaphysical corpus includes eerily empty Italian piazzas with long shadows inhabited by a solitary statue of Ariadne or that of a politician, disquieting faceless mannequins, and claustrophobic interiors filled with random juxtapositions of geometric instruments, maps, bizarre objects and the motif of paintings within paintings.
Highlighting his various periods with examples from his earliest works to last ones, Giorgio de Chirico: The Enigma of the World exhibition took place at the Pera Museum between 24 February - 08 May 2016.
Among the most interesting themes in the oeuvre of Prassinos are cypresses, trees, and Turkish landscapes. The cypress woods in Üsküdar he saw every time he stepped out on the terrace of their house in İstanbul or the trees in Petits Champs must have been strong images of childhood for Prassinos.
A series of small and rather similar nudes Bedri Rahmi Eyüboğlu and Eren Eyüboğlu produced in the early 1930s almost resemble a ‘visual conversation’ that focus on a pictorial search. It is also possible to find the visual reflections of this earlier search in the synthesis Bedri Rahmi Eyüboğlu reached with his stylistic abstractions in the 1950s.
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