Old Masters Pastiches

29 April 2016

Pera Museum is proud to present an exhibition of Giorgio de Chirico, a pioneer of the metaphysical art movement and one of the most extraordinary artists of the 20th century. Brought to life in collaboration with the Fondazione Giorgio e Isa de Chirico in Rome, the exhibition comprises a broad selection of 70 paintings, 2 lithography series, and 10 sculptures. Take look at his interpretations of old master’s works! 

Pastoral (After Rubens), 1960, oil on canvas, 39 x 49,5 cm. Fondazione Giorgio e Isa de Chirico Collection, Rome 

During this period, de Chirico was attracted to a diverse stable of European great masters, ranging from Titian, Fragonard, Ingres to Delacroix and Rubens, with the artist championing the latter as the ultimate Great Master. 

Phaeton’un Düşüşü (After Rubens), 1954,
Tuval üzerine yağlıboya, 50 x 40 cm.
Fondazione Giorgio e Isa de Chirico Collection, Rome 

Rather than produce pastiches (exact copies), the artist tended to rework or extract details of specific paintings. For example, in the exhibited painting Young Girl Sleeping (after Watteau) of 1947, de Chirico chose to paint just a small detail of Watteau’s Jupiter and Antiope, thus transforming his version into a dormant Ariadnesque figure.

Young Girl Sleeping, (After Watteau), 1947, oil on canvas, 40 x 50 cm.
Fondazione Giorgio e Isa de Chirico Collection, Rome 

Alternatively, in the exhibited Bathers (with Red Drape in the Landscape) of 1945, the artist selects the recognisable pose of Ingre’s central figure of Grande Odalisque (1814), yet choses to reverse her position and place her in an open landscape setting. 

In Self-portrait with Armour (1948), de Chirico reworks Velázquez’s Philip IV in Armour (c. 1626). His decision to superimpose the Spanish king’s head with that of his own serves as a visual demonstration of Nietzsche’s concept of the eternal return and the cyclical nature of Time.


Self-portrait in Armour, 1948,
Tempera and oil on canvas, 50 x 40 cm.

Fondazione Giorgio e Isa de Chirico Collection, Rome

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.

I Copy Therefore I Am

I Copy Therefore I Am

Suggesting alternative models for new social and economic systems, SUPERFLEX works appear before us as energy systems, beverages, sculptures, copies, hypnosis sessions, infrastructure, paintings, plant nurseries, contracts, or specifically designed public spaces.

Baby King

Baby King

1638, the year Louis XIV was born –his second name, Dieudonné, alluding to his God-given status– saw the diffusion of a cult of maternity encouraged by the very devout Anne of Austria, in thanks for the miracle by which she had given birth to an heir to the French throne. Simon François de Tours (1606-1671) painted the Queen in the guise of the Virgin Mary, and the young Louis XIV as the infant Jesus, in the allegorical portrait now in the Bishop’s Palace at Sens.

The Big Country

The Big Country

When the Royal Academy of Arts offered Stephen Chambers the opportunity to produce new work for a focused exhibition in the Weston Rooms of the Main Galleries, Chambers turned to print and the possibilities it offered.