thank you Jeffrey. I hadn't encountered Chirico before and this was a wonderful introduction. I felt like I was walking with you, at that tiring museum pace, engulfed by the color of the later pieces. I enjoy the way you look to contemporaries in different arts to inform each other, such an important recognition of how art forms in or against or through a culture.
Thank you, Leslie! I was quite struck by the coincidence of the years of birth of de Chirico and Pessoa (as well as Eliot). I hadn't looked for that. I almost think of the two Europeans as twin souls, set on different paths but with similar preoccupations.
A little de Chirico has always gone a long way with me. He’s a hard slog, all ideas and no obvious emotion. Looking at his work through your eues, I discovered an unlikely voluptuousness in his gorgeous use of color and shadow. The empty streets are haunting if you look at them closely. The two vaguely similar scenes are not really alike at all, and I’m amazed that anyone could think the artist was repeating himself. The interplay of massive solidity (arches, towers) and delicacy (flags, the girl with the hoop) starts a conversation in the mind. An artist as cerebral as de Chirico will never be a favorite of mine, but now I can appreciate him on his own terms.
I confess I thought of you while I was drafting this, Rona. I knew de Chirico wasn't exactly your favourite artist. So I feel relieved that you found that “unlikely voluptuousness.” It would have been fascinating to see this exhibition together! Thank you so much for your generous comment.
I had not seen any of de Chirico's work, except for 'Mystery and Melancholy of a Street', which I remember seeing in my parents' encyclopedia under 'Art'. The two figures, the silhouette of the girl and the elongated shadow impressed me as a child with a sense of foreboding. Seeing it here with de Chirico's other works makes me think 'Mystery and Melancholy' might be his best painting - the others are just slightly static, as if the thought behind them didn't quite get fully expressed.
Thank you, Holly! It's certainly among the most engaging of his paintings. There's something about the composiiton that gives it life, as you suggest. I'd like to have another chance to focus on different paintings (there were just too many to look at them all closely). But you may be right about “Mystery and Melancholy.“
Hello Jeff, I wonder if you or any of your readers have read the new book by the Australian writer, Richard Flanagan. I think you'd enjoy it. Not least because it opens in Japan. It's called Question 7. The title is taken from Chekov's story which itself is a parody of those arithmetical questions children were set in class - and maybe still are in some places.
...a train had to leave station A at 3 a.m in order to reach station B at 11pm; just as the train was about to depart, however, an order came that the train had to reach station B by 7pm. Who loves longer, a man or a woman?
If you find the linear information provided inadequate that is the point. There is no information available to us which can answer such questions. There are innumerable important questions which we can and do ask but there is never an adequate answer.
Thank you, Richard! I will check out the Flanagan book, which sounds fascinating. There's a musical accompaniment to your final paragraph, "The Unanswered Question," by Charles Ives, which is a fabulous piece.
I appreciate how frankly you told us about your hesitation in going to this art exhibit, I think that beginning helped illuminate how the art had an impact on you :)
I admire how you met de Chirico’s contrasts in the furniture paintings by finding your own juxtaposition with Pessoa. You always offer an interesting angle (to echo those diagonal lines) of your own!
Thank you, Victoria! As I suggested to Rona in another comment, it's the curiosity that drives me on and I'm pleasantly surprised when it takes me to a perspective from which a new angle appears.
I am not certain - even in fierce august heat - I would be tempted by de Chirico's metaphysical artistry I admit though I applaud your ability to have kept me reading this essay Jeffrey, especially on the successful linking of The Book of Disquiet to better explain the art before you.
"There is an equal, abstract destiny for men and for things; both have an equally indifferent designation in the algebra of the world’s mystery." how very true...
Remarkable! You found the book that explains these enigmatic paintings. “There is an equal, abstract destiny for men and for things; both have an equally indifferent designation in the algebra of the world’s mystery.” This does sound like a good explanation of what we’re seeing. It might be this “indifference” that leaves me with that dry-ribbed feeling.
I was not familiar with De Chirico, and I feel there has been no great hole in my education, but I’m glad to step into a cool museum with you any time, and your juxtaposition of art and book dazzles, as usual. :-)
Thank you, Tara! I'm glad you found the quote from Pessoa interesting. He really did pull me out of a hole, as I was sinking into my thoughts on the paintings: The Book of Disquiet is a truly remarkable book.
And I'd love to have the chance to visit a museum with you!
My local museum here would be way too small. I guess I’ll have to update my passport and visit you. ;-) That’s if we still have federal employees processing passports. 😬
New artist for me - I do like the public places paintings more than the others, there's something very peaceful about monuments and squares with no people in them (or only one or two :). The forms remind me of Georgia O'Keefe, as though some of her desert landscapes were translated into cityscapes. Thanks for the intro, Jeffrey!
I'm hesitant to confess this, but I find de Chirico rather one note. I appreciate though your ability to appreciate his work. I'm a student trying to follow along Teacher Jeffrey! The cartoonish quality without humor )or warmth, really), doesn't build any bridges for me. However, the difference between looking at these paintings on a screen versus in a gallery cannot be discounted!
Fascinating exploration Jeffrey! I fell hard for Chirico’s hard shadows and light in “Mystery and Melancholy” about 15 years ago. I even used it as inspiration for a short film I made. But I never resonated with his work beyond that one piece, feeling as if they lacked emotion and intimacy. But perhaps you’re right, he was finding it through “inquisitive purpose” in some of the more pedestrian and ordinary spaces.
Thank you, Kimberly! I found it easier to find more connection with his work being in the room with the paintings, where their expessive power is more evident. I don't think I'll ever finish that metaphysical journey of his, but I feel enriched by the time I spent with his work.
thank you Jeffrey. I hadn't encountered Chirico before and this was a wonderful introduction. I felt like I was walking with you, at that tiring museum pace, engulfed by the color of the later pieces. I enjoy the way you look to contemporaries in different arts to inform each other, such an important recognition of how art forms in or against or through a culture.
Thank you, Leslie! I was quite struck by the coincidence of the years of birth of de Chirico and Pessoa (as well as Eliot). I hadn't looked for that. I almost think of the two Europeans as twin souls, set on different paths but with similar preoccupations.
A little de Chirico has always gone a long way with me. He’s a hard slog, all ideas and no obvious emotion. Looking at his work through your eues, I discovered an unlikely voluptuousness in his gorgeous use of color and shadow. The empty streets are haunting if you look at them closely. The two vaguely similar scenes are not really alike at all, and I’m amazed that anyone could think the artist was repeating himself. The interplay of massive solidity (arches, towers) and delicacy (flags, the girl with the hoop) starts a conversation in the mind. An artist as cerebral as de Chirico will never be a favorite of mine, but now I can appreciate him on his own terms.
I confess I thought of you while I was drafting this, Rona. I knew de Chirico wasn't exactly your favourite artist. So I feel relieved that you found that “unlikely voluptuousness.” It would have been fascinating to see this exhibition together! Thank you so much for your generous comment.
I had not seen any of de Chirico's work, except for 'Mystery and Melancholy of a Street', which I remember seeing in my parents' encyclopedia under 'Art'. The two figures, the silhouette of the girl and the elongated shadow impressed me as a child with a sense of foreboding. Seeing it here with de Chirico's other works makes me think 'Mystery and Melancholy' might be his best painting - the others are just slightly static, as if the thought behind them didn't quite get fully expressed.
Thank you, Holly! It's certainly among the most engaging of his paintings. There's something about the composiiton that gives it life, as you suggest. I'd like to have another chance to focus on different paintings (there were just too many to look at them all closely). But you may be right about “Mystery and Melancholy.“
All so lovely: Homer, Homer, Homer--and your closing, so eloquent!
Thank you, Mary! Your words mean a lot to me.
"I found this later work less moving; it put me in mind of two robots posing for a selfie...."
Thanks for the laugh, Jeffrey!
Hello Jeff, I wonder if you or any of your readers have read the new book by the Australian writer, Richard Flanagan. I think you'd enjoy it. Not least because it opens in Japan. It's called Question 7. The title is taken from Chekov's story which itself is a parody of those arithmetical questions children were set in class - and maybe still are in some places.
...a train had to leave station A at 3 a.m in order to reach station B at 11pm; just as the train was about to depart, however, an order came that the train had to reach station B by 7pm. Who loves longer, a man or a woman?
If you find the linear information provided inadequate that is the point. There is no information available to us which can answer such questions. There are innumerable important questions which we can and do ask but there is never an adequate answer.
Thank you, Richard! I will check out the Flanagan book, which sounds fascinating. There's a musical accompaniment to your final paragraph, "The Unanswered Question," by Charles Ives, which is a fabulous piece.
Massive collections, crowded museums, and soaring ticket prices. Jeffrey, you are a brave man.
Thank you for pointing me out Pessoa's book.
You're right about the difficulties, Gianni. But an exhibition like this is hard to pass up,
And the Pessoa is wonderful. I strongly recommend it.
I appreciate how frankly you told us about your hesitation in going to this art exhibit, I think that beginning helped illuminate how the art had an impact on you :)
Thank you, Michael. I'm glad you weren't put off by my initial hesitation!
I admire how you met de Chirico’s contrasts in the furniture paintings by finding your own juxtaposition with Pessoa. You always offer an interesting angle (to echo those diagonal lines) of your own!
Thank you, Victoria! As I suggested to Rona in another comment, it's the curiosity that drives me on and I'm pleasantly surprised when it takes me to a perspective from which a new angle appears.
I am not certain - even in fierce august heat - I would be tempted by de Chirico's metaphysical artistry I admit though I applaud your ability to have kept me reading this essay Jeffrey, especially on the successful linking of The Book of Disquiet to better explain the art before you.
"There is an equal, abstract destiny for men and for things; both have an equally indifferent designation in the algebra of the world’s mystery." how very true...
Thank you, Susie. I'm glad you liked that line from Pessoa.
Fantastic intro (for me) to de Chirico, my friend. You brought us right along with you on this exploration. :)
Thank you for joining in the exhibition tour!
Remarkable! You found the book that explains these enigmatic paintings. “There is an equal, abstract destiny for men and for things; both have an equally indifferent designation in the algebra of the world’s mystery.” This does sound like a good explanation of what we’re seeing. It might be this “indifference” that leaves me with that dry-ribbed feeling.
I was not familiar with De Chirico, and I feel there has been no great hole in my education, but I’m glad to step into a cool museum with you any time, and your juxtaposition of art and book dazzles, as usual. :-)
Thank you, Tara! I'm glad you found the quote from Pessoa interesting. He really did pull me out of a hole, as I was sinking into my thoughts on the paintings: The Book of Disquiet is a truly remarkable book.
And I'd love to have the chance to visit a museum with you!
My local museum here would be way too small. I guess I’ll have to update my passport and visit you. ;-) That’s if we still have federal employees processing passports. 😬
🤞
New artist for me - I do like the public places paintings more than the others, there's something very peaceful about monuments and squares with no people in them (or only one or two :). The forms remind me of Georgia O'Keefe, as though some of her desert landscapes were translated into cityscapes. Thanks for the intro, Jeffrey!
Thank you, Troy. I'm intrigued by your comment about O’Keefe's desert landscapes. I must take a look myself!
I'm hesitant to confess this, but I find de Chirico rather one note. I appreciate though your ability to appreciate his work. I'm a student trying to follow along Teacher Jeffrey! The cartoonish quality without humor )or warmth, really), doesn't build any bridges for me. However, the difference between looking at these paintings on a screen versus in a gallery cannot be discounted!
Thank you, Lani. Yes, the impact of being in the room with the paintings was important for me. I think that's when works really come to life.
Fascinating exploration Jeffrey! I fell hard for Chirico’s hard shadows and light in “Mystery and Melancholy” about 15 years ago. I even used it as inspiration for a short film I made. But I never resonated with his work beyond that one piece, feeling as if they lacked emotion and intimacy. But perhaps you’re right, he was finding it through “inquisitive purpose” in some of the more pedestrian and ordinary spaces.
Thank you, Kimberly! I found it easier to find more connection with his work being in the room with the paintings, where their expessive power is more evident. I don't think I'll ever finish that metaphysical journey of his, but I feel enriched by the time I spent with his work.
Haha, if I were there, I'd probably be turned away by the word "metaphysical" and feel exhausted at the end of the "journey" ;).
😊 It was certainly tiring! But I was very glad I went.