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.
Inspired by its Anatolian Weights and Measures Collection, Pera Museum presents a contemporary video installation titled For All the Time, for All the Sad Stones at the gallery that hosts the Collection. The installation by the artist Nicola Lorini takes its starting point from recent events, in particular the calculation of the hypothetical mass of the Internet and the weight lost by the model of the kilogram and its consequent redefinition, and traces a non-linear voyage through the Collection.
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