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Journal articles on the topic 'Giorgio De Chirico'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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1

Loreto, Giovanni, and Ara H. Merjian. "Giorgio de Chirico." Grey Room 44 (July 2011): 86–89. http://dx.doi.org/10.1162/grey_a_00046.

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2

Lista, Giovanni. "L’itinéraire de Giorgio De Chirico." Ligeia N°177-180, no. 1 (2020): 189. http://dx.doi.org/10.3917/lige.177.0189.

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3

Arriagada S., Jaime. "Giorgio de Chirico (1888-1978)." Revista Médica Clínica Las Condes 29, no. 5 (September 2018): 583. http://dx.doi.org/10.1016/j.rmclc.2018.09.001.

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4

Singer, Andrew. "The Cities of Giorgio de Chirico / Oraşele lui Giorgio de Chirico by Constantin Severin." World Literature Today 95, no. 4 (2021): 83–84. http://dx.doi.org/10.1353/wlt.2021.0279.

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5

이민수. "Giorgio de Chirico: Rivalry and Difference." Journal of History of Modern Art ll, no. 32 (December 2012): 103–36. http://dx.doi.org/10.17057/kahoma.2012..32.004.

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6

Roos, Gerd, and Martin Weidlich. "Giorgio De Chirico et la « bande Breton »." Ligeia N°177-180, no. 1 (2020): 83. http://dx.doi.org/10.3917/lige.177.0083.

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7

Blanke, Olaf, and Theodor Landis. "The Metaphysical Art of Giorgio de Chirico." European Neurology 50, no. 4 (2003): 191–94. http://dx.doi.org/10.1159/000073858.

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8

Bellow, Juliet. "Animated Stones: Giorgio de Chirico’s Le Bal and the Neo-Classical Body." Experiment 17, no. 1 (2011): 311–20. http://dx.doi.org/10.1163/221173011x611978.

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Abstract In his set and costume designs for the 1929 production Le Bal, Giorgio de Chirico critiqued two aspects of the Ballets Russes' legacy: the troupe's increasing reliance on the Classical tradition and its longstanding allegiance to the Gesamtkunstwerk. The mismatched shards of classical architecture in de Chirico's designs undermined the corporeal harmony and grace central to the Classical ideal in art and dance. His uncanny substitution of inorganic materials for body parts undermined the belief, shared by many artists in this period, in the potential of human surrogates to aid them in their progress toward the total artwork of the future.
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9

ROSTOVA, N. N. "Philosophy of «metaphysical painting» of Giorgio de Chirico." Personality.Culture.Society 20, no. 1-2 (2018): 149–57. http://dx.doi.org/10.30936/1606-951x-2018-20-1/2-149-157.

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10

Roelens, Nathalie. "Calvino e le “città metafisiche” di Giorgio de Chirico." Italies, no. 16 (June 1, 2012): 369–86. http://dx.doi.org/10.4000/italies.4466.

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11

Podoll, Klaus, and Ubaldo Nicola. "The Illness of Giorgio de Chirico – Migraine or Epilepsy?" European Neurology 51, no. 3 (2004): 186. http://dx.doi.org/10.1159/000077672.

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12

Sáenz, María Olga. "El pensamiento de Nietzsche en la construcción de la estética del futurismo y de la pintura metafísica." Estudios Nietzsche, no. 14 (December 1, 2014): 95–113. http://dx.doi.org/10.24310/estudiosnieten.vi14.10748.

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En el siglo XIX , Francia desplazó a Italia de su secular trayectoria como centro generador de las artes. Frente a este hecho, tanto Filippo Tommaso Marinetti, creador del Futurismo italiano, como Giorgio de Chirico, de la Pintura Metafísica, aportaron su particular poética al arte moderno europeo. Ambos recibieron una influencia decisiva del pensamiento filosófico de Friedrich Nietzsche: Marinetti conceptualizó la creación artística bajo la premisa «arte=vida» intentando trascender la crisis del mundo de Occidente. De Chirico construyó su obra pictórica trastocando su significado original, con el fin de discernir su segunda apariencia, dentro de un ámbito espectral, metafísico, para representar con metáforas plásticas «el eterno retorno».
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13

Casado Chamizo, Sergio. "Imágenes melancólicas: el artificio barroco en el espacio onírico de La vida es sueño y la pintura metafísica desde la estética de Nietzsche / Melancholic Images: Baroque Artifice in the Dreamlike Space of Life is a Dream and Metaphysical Art from Nietzsche's Aesthetics." IMAGO. Revista de Emblemática y Cultura Visual, no. 15 (January 17, 2024): 93. http://dx.doi.org/10.7203/imago.15.26523.

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ABSTRACT: This article approaches the relationship with images from the psychological state of melancholy through Nietzsche’s aesthetics. Starting from this Nietzschean theoretical framework, we approach this aspect from his proposal of the creative will of metaphors as artifices of images that point to the separation of the human being from his own time in a tragic exercise. In this way, we enter into an evaluation of the notion of artifice in relation to the creative function of dreams that Nietzsche recovers from baroque thought, specifically through his incursions into the work of Gracián and Calderón’s Life Is a Dream, and following this tradition, we will venture to study this transcript from the analysis that the pictorial work of Giorgio de Chirico allows in the expression and evolution of the creation of melancholic images through the germ of surrealism in Metaphysical Art. KEYWORDSMelancholy; Nietzsche; Life Is a Dream; Baroque; Giorgio de Chirico. RESUMEN: Este artículo aborda la relación con las imágenes desde el estado psicológico de la melancolía a través de la estética de Nietzsche. Partiendo de este marco teórico nietzscheano, enfocamos ese aspecto desde su propuesta de la voluntad creativa de metáforas como artificios de imágenes que apuntan a la separación del ser humano de su propio tiempo en un ejercicio trágico. De esta forma, nos adentramos a valorar la noción del artificio en relación con la función creativa de los sueños que Nietzsche recupera del pensamiento barroco, concretamente a través de las incursiones a la obra de Gracián y La vida es sueño de Calderón, y siguiendo esta tradición, nos aventuraremos a estudiar este trasunto desde el análisis que permite la obra pictórica de Giorgio de Chirico en la expresión y evolución de la creación de imágenes melancólicas a través del germen del surrealismo en la pintura metafísica.
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14

GIULIODORI, Lucio, and Elena Alexandrovna NOTINA. "The Vision And The Enigma: Nietzsche’s Aura In De Chirico’s Art." WISDOM 13, no. 2 (December 26, 2019): 156–67. http://dx.doi.org/10.24234/wisdom.v13i2.297.

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Giorgio De Chirico definitely stands out as a peculiar character of the Italian Novecento and his art ties directly with Nietzsche’s philosophy whose eternal questions paved the way to his “immanent metaphysics” which is typified and pervaded by ever-present melancholia brought about by a heightened awareness of the death of God. Grappling with “the world seen for the first time” De Chirico’s narrative does not depict reality rather its ghost, the latter is seen by dint of revelations and hallucinations. This paper sheds light onto some significant kinships between the two characters as not only philosophical concerns are vital but illness too. The philosopher suffered since his very childhood from severe migraine and then from a psychiatric illness with depression while the painter unknowingly suffered from migraine aura. This ailment, affecting the fragile border amid perceived reality and hallucinated reality, turned out to be a remarkable source of inspiration which boosted the visions and the enigmas the artist was entwined with. Overall, Nietzsche ushered in a picture of the world that De Chirico has wholeheartedly shared, however, in the light of his disorder, the empathy went even further, and this is the noteworthy aspect this paper aims at underscoring.
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15

Surliuga, Victoria. "Cecchetto, Stefano, Memorie ritrovate: Ezio Gribaudo e Giorgio de Chirico." Forum Italicum: A Journal of Italian Studies 50, no. 1 (August 10, 2015): 285–87. http://dx.doi.org/10.1177/0014585815595358.

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16

Jewell, Keala. "Giorgio de Chirico and the Metaphysical City: Nietzsche, Modernism, Paris." Journal of Modern Italian Studies 21, no. 1 (January 2016): 157–58. http://dx.doi.org/10.1080/1354571x.2016.1112074.

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17

Giammei, Alessandro. "Giorgio de Chirico and the Metaphysical City. Nietzsche, Modernism, Paris." Italian Culture 34, no. 2 (July 2, 2016): 124–25. http://dx.doi.org/10.1080/01614622.2016.1204180.

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18

Brazeau, Bryan. "Building a Mystery: Giorgio de Chirico and Italian Renaissance Painting." Italianist 39, no. 1 (January 2, 2019): 20–43. http://dx.doi.org/10.1080/02614340.2019.1556446.

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19

Bogousslavsky, Julien. "The Neurology of Art – The Example of Giorgio de Chirico." European Neurology 50, no. 4 (2003): 189–90. http://dx.doi.org/10.1159/000073857.

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20

Brown, Kathryn. "Giorgio de Chirico and the Metaphysical City: Nietzsche, Modernism, Paris." French Studies 69, no. 3 (June 30, 2015): 411–12. http://dx.doi.org/10.1093/fs/knv144.

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21

Méndez Baiges, Maite. "El «sentido arquitectónico en la pintura» a través de los escritos de Giorgio de Chirico." Boletín de Arte, no. 16 (June 10, 2022): 45–58. http://dx.doi.org/10.24310/bolarte.1995.vi16.14896.

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La relación y a veces la identificación entre "metafísica" y arquitectura, tiene tintes de modernidad en los escritos de Giorgio De Chirico. Este posicionamiento estético aparece en dos series temporales de escritos: los llamados "parisinos", entre 1911 y 1915; y los correspondientes a los años 1918 a 1922, ya en Italia, momento en el que la pintura metafísica retoma el clasicismo en el llamado "retorno al orden".
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22

Blümle, Claudia. "Das verhüllte Rätsel." Zeitschrift für Medien- und Kulturforschung 7, no. 1 (2016): 125–42. http://dx.doi.org/10.28937/1000106460.

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Das Verhältnis von Verschwinden und Erscheinen wurde in der bildenden Kunst nirgends so explizit behandelt wie im Surrealismus. Exemplarisch kann dabei Das Rätsel des Orakels von Giorgio de Chirico und The Enigma of Isidore Ducasse von Man Ray herangezogen werden. Eingerahmt von einem Manifest zur Rolle des Traums wurde Man Rays Enigma bereits auf der ersten Seite der ersten Ausgabe der Zeitschrift Le révolution surréaliste abgedruckt. Wie im Beitrag gezeigt werden soll, wird die Beziehung von Verschwinden und Erscheinen im Surrealismus nicht nur visualisiert, sondern diese wird in ihrer Struktur von Anwesenheit und Abwesenheit analytisch und zugleich sinnlich seziert. </br></br>No epoch of the visual arts has treated the relation of disappearance and appearance as explicitly as surrealism. Especially Giorgio de Chirico’s The Enigma of the Oracle and Man Ray’s The Enigma of Isidore Ducasse can be used as examples. Framed by a manifesto on the role of the dream, Man Ray’s Enigma was printed on the first page of the first issue of the journal La révolution surréaliste. In this paper I show how in surrealism, the relation of disappearance and appearance is not only visualized, but dissected in an analytical and at the same time sensual way.
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23

Espada, Heloisa. "Monumento e sombra na Brasília de Marcel Gautherot." Novos Estudos - CEBRAP, no. 93 (July 2012): 145–66. http://dx.doi.org/10.1590/s0101-33002012000200010.

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Em Brasília, a objetividade e a clareza das fotografias de Marcel Gautherot, quando combinadas à presença marcante de sombras densas e perspectivas agudas, as tornam semelhantes, do ponto de vista formal, às obras iniciais do pintor italiano Giorgio de Chirico. Partindo dessa comparação, o artigo coteja a perspectiva do fotógrafo com os propósitos de Lucio Costa e Oscar Niemeyer, e com interpretações literárias e críticas que descrevem Brasília como uma paisagem "metafísica" e "surrealista".
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24

Cleave, Ryan G. Van. "The Melancholy of Departure, 1914 (Oil on Canvas, Giorgio de Chirico)." Grand Street, no. 71 (2003): 228. http://dx.doi.org/10.2307/25008673.

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25

Giammei, Alessandro. "Stratigraphy of Andromeda: Giorgio de Chirico, Alberto Savinio, Origins, and Originality." Modernism/modernity 25, no. 1 (2018): 21–43. http://dx.doi.org/10.1353/mod.2018.0001.

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26

Ball, Angela. "Words from a Painting by Giorgio de Chirico, and: Wild Valentine." Colorado Review 50, no. 1 (March 2023): 99–100. http://dx.doi.org/10.1353/col.2023.0025.

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27

Dix, Steffen. "Vom bleibenden Recht der Antike in der künstlerischen Moderne Europas: Fernando Pessoa und Giorgio de Chirico." Zeitschrift für Religions- und Geistesgeschichte 74, no. 3 (July 25, 2022): 251–72. http://dx.doi.org/10.1163/15700739-07403005.

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Modernism in the early 20th century has usually been viewed as a radical break with the past and tradition. Nevertheless, there are a great deal of direct references to classical antiquity in many works of modernist artists. This apparent contradiction forces us to rethink the notion of a radical break between the new and the past. It is with this in mind that the present article focuses on one of the most exiting periods in European cultural history. In particular, the article refers to two attempts to revitalize classical antiquity during the first decades of the 20th century. These two attempts are illustrated by the Portuguese writer, Fernando Pessoa, and the Italian painter, Giorgio de Chirico. Their works are not only characteristic of the marked revival of classical antiquity in the first years of Modernism, but they also reveal that this revival is more than a simple “new classicism”. Insofar as this new/ past dualism, the work of Pessoa and de Chirico should be better described as an updated mythological thinking.
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28

Gaspar, Rafael Fontes. "Vestí­gios e Ruí­nas: Entre Piranesi, de Chirico e Lichtenstein." Art&Sensorium 5, no. 1 (June 10, 2018): 259–70. http://dx.doi.org/10.33871/23580437.2018.5.1.259-270.

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Este artigo apresenta dois conceitos fundamentais da teoria iconológica desenvolvida por Aby Warburg, aNachlebene aPathosformeln, com o intuito de compreender como se dá a sobrevivência das formas na história da arte, como desaparecem e ressurgem em outros tempos. Deste modo, vai ser estabelecido através da sobreviência das formas, opós-vidadas formas antigas sobre a representação da ruí­na, através de elementos arquitetônicos, que estão presentes nas gravuras de Giovanni Battista Piranesi e que ressurgem nas pinturas de Giorgio De Chirico e também em Roy Lichtenstein. Especificamente, as formas investigadas como uma imagem sobrevivente são observadas através dos tambores das colunas de templos e de antigas construções em ruí­nas, que representam a arquitetura greco-romana, assim sendo, analisada do perí­odo neoclássico até a arte moderna.
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Dos Santos, Luis Guilherme Barbosa. "O SENTIDO SIMBÓLICO NA POÉTICA DE “JORNADA ANSIOSA”, DE GIORGIO DE CHIRICO." Revista Mosaico - Revista de História 13 (August 19, 2020): 49. http://dx.doi.org/10.18224/mos.v13i0.7546.

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Este ensaio é uma reflexão sobre as mensagens simbólicas na pintura “Jornada Ansiosa” (“The Anxious Journey” – 1913), do artista grego De Chirico e as suas possíveis significações dentro daquele universo pictórico, caracterizado pela atmosfera onírica, de ilusão e de referências concretas na história de si mesmo, da Arquitetura e da Filosofia. Neste ensaio, reflito ainda sobre os possíveis traços de memória, vivências e formação intelectual do artista, em um recorte para essa obra, como fatores condicionantes e determinantes na construção da sua poética, também a relacionando aos fundamentos teóricos das Performances Culturais em Richard Schechner.
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30

Verger, Anne. "La représentation de la femme dans les œuvres de Giorgio De Chirico." Italies, no. 3 (June 1, 1999): 387–402. http://dx.doi.org/10.4000/italies.2946.

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31

Baldacci, Paolo. "Le problème “Giorgio de Chirico” (expositions, recherches et état de la question)." Ligeia N° 89-92, no. 1 (2009): 5. http://dx.doi.org/10.3917/lige.089.0005.

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Kaplan, Lauren A. "Traces of Influence: Giorgio de Chirico, Remedios Varo, and “lo Real Maravilloso”." Latin Americanist 54, no. 3 (September 27, 2010): 25–51. http://dx.doi.org/10.1111/j.1557-203x.2010.01075.x.

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Verschaffel, Bart. "The trophy figure in the work of Giorgio De Chirico (and Piranesi)." Journal of Architecture 15, no. 3 (June 2010): 337–58. http://dx.doi.org/10.1080/13602365.2010.486563.

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Kaplan, Lauren A. "Traces of Influence: Giorgio de Chirico, Remedios Varo, and “lo Real Maravilloso”." Latin Americanist 54, no. 3 (September 2010): 25–51. http://dx.doi.org/10.1353/tla.2010.a706467.

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35

Maroto, David. "La novela de artista." Revista SOBRE 3 (June 29, 2017): 167–70. http://dx.doi.org/10.30827/6230.

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Aunque ha habido artistas que han escrito novelas desde al menos los tiempos de William Morris, muy poco se sabe sobre ellas. Carl Andre, AA Bronson, Giorgio de Chirico, Salvador Dalí, Yayoi Kusama, Francis Picabia, Richard Prince y Andy Warhol son algunos ejemplos de artistas conocidos cuyas novelas han sido olvidadas o simplemente ignoradas. Hasta la fecha no existe ningún estudio, teoría o historia de tal práctica que nos dé una idea aproximada de cuántas novelas de este tipo existen, cuándo y dónde fueron publicadas y, ante todo, cuál es la razón por la cual un artista visual decide escribir una novela.
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Baydemir, Güliz. "Batı resim sanatında mimari yansımalar." JOURNAL OF ARTS 7, no. 1 (February 20, 2024): 17–27. http://dx.doi.org/10.31566/arts.2357.

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Resim ve Mimarlık arasındaki etkileşim yüzyıllar öncesine dayanan ve önemini koruyan çok yönlü bir kavramdır. Batı Resim Sanatında Rönesans’tan gününüze değin mimariye dair öğelerin temsillerini içeren resimler ve sanatçılarının bu mimari formları ele alış biçimleri bu makalede kronolojik olarak işlenmiştir. Antik dönemden günümüz sanatına değin rasyonellikten ruhaniliğe kadar çeşitli anlamlar yüklenen bir sembolizm diline dönüştüğü izlenen mimari formların resimlerdeki betimlemeleri, biçimsellikten evrensel arketiplere uzanan yaklaşımlarla irdelenmiş olup; Raphaello Sanzio, Il Canaletto, Hubert Robert, Claude Monet, Giorgio de Chirico, Ludwig Meidner, Iain Macnab, David Hockney gibi ressamların eserlerinden örnekler ele alınmıştır. Makalede literatür tarama ve eser inceleme yöntemleri kullanılmıştır.
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Verger, Anne. "Les autoportraits de Giorgio De Chirico : humour et ironie au service de l’autodérision." Italies, no. 4 (January 1, 2000): 183–90. http://dx.doi.org/10.4000/italies.2224.

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Choi, Byung Jin. "From Theory to Practice: Case Study on the Giorgio De Chirico House Museum." Journal of Art Theory & Practice 32 (December 30, 2021): 155–80. http://dx.doi.org/10.15597/jksmi.25083538.2021.32.155.

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Semprebon, Gerardo. "Diradamento e assemblaggio: la costruzione dello spazio pubblico fascista." TERRITORIO, no. 101 (March 2023): 33–41. http://dx.doi.org/10.3280/tr2022-101004.

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Il rapporto tra architettura e potere trova nel periodo fascista una delle sue più intense manifestazioni, sia in termini di spazialità che in termini di espressività. Questo testo affronta il tema dello spazio aperto pubblico all'interno dei tessuti edilizi, proponendo due chiavi di lettura: la teoria del diradamento di Gustavo Giovannoni e l'assemblaggio metafisico rilevabile nell'estetica di Giorgio De Chirico. Vengono dapprima sintetizzati alcuni passaggi chiave che orientano la cultura del progetto nel ventennio fascista; successivamente, i due approcci sono presentati attraverso una ri-lettura teorico-artistica. In conclusione, si apre una riflessione sul carattere di resistenza degli spazi pubblici oggi e sulla permanenza di una qualità urbana introdotta nel primo dopoguerra.
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40

Eburne, Jonathan P. "Giorgio de Chirico and the Metaphysical City: Nietzsche, Modernism, Paris by Ara H. Merjian." Modernism/modernity 23, no. 1 (2016): 249–51. http://dx.doi.org/10.1353/mod.2016.0027.

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Aguirre, Mariana. "Giorgio Morandi and the "Return to Order": from Pittura Metafisica to Regionalism, 1917-1928." Anales del Instituto de Investigaciones Estéticas 1, no. 1 (June 19, 2013): 93. http://dx.doi.org/10.22201/iie.18703062e.2013.1.2489.

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Este artículo analiza la obra y trayectoria de Giorgio Morandi con respecto a su participación tanto en la escuela metafísica italiana como en el grupo regional Strapaese. Sus autorretratos y bodegones demuestran que la expresión de Morandi de una estética metafísica engranaba con las estrategias de autorrepresentación del movimiento. Morandi imitó los autorretratos de De Chirico y el uso de maniquíes, promoviéndose como un artista metafísico y recalcando su propio intelecto. En 1920, en respuesta al nacionalismo italiano, Morandi se desplazó hacia el arte de Piero della Francesca, Cézanne y Soffici. Esto, finalmente, llevó al arista a crear imágenes de la Italia rural, lo cual le permitió ingresar al movimiento regionalista, cuyos críticos lo acogieron debido a su retorno a la tradición. Aunque este cambio en el estilo ha sido interpretado en términos formales, sostengo que, al abandonar la escuela metafísica, Morandi participó en el “regreso al orden” tanto político como cultural prevaleciente en Europa después de la primera guerra mundial.
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Frfulanović, Dragana, Aleksandra Jevtović, and Milena Savić. "Modern art and stage costume: The case of Dragilev's Ballets Russes." Tekstilna industrija 70, no. 2 (2022): 40–50. http://dx.doi.org/10.5937/tekstind2202040f.

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Sergei Dragilev recognized the vitality of modern art that brought freshness to the culture, so all innovative artists of the time were invited to join his campaign and goal. And he reflected on the fact that ballet breaks the shackles of the traditional concept in the performance of dance, music, costume design, and scenography and imposes an element of challenge by introducing current contemporary tendencies in art and culture. All the famous names of the art of that time brought the latest achievements of modern art into the world of dance: Pablo Picasso, Natalia Goncharova, Henri Matisse, and Giorgio de Chirico. And with them, the design of scenography and costume design took the form of cubism, fauvism, futurism, surrealism, and other avant-garde movements, while refreshing the themes, which overall influenced ballet to become part of popular culture.
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Blanke, O., and T. Landis. "Giorgio de Chirico: Intricate Links between Spiritual Fevers, Metaphysical Art, and the Interictal Temporal Lobe Syndrome." European Neurology 51, no. 3 (2004): 187. http://dx.doi.org/10.1159/000077673.

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44

Merjian, Ara H. "Discipline and Ridicule: Giorgio de Chirico, Le Corbusier, and the Objects of Architecture in Interwar Paris." Grey Room 44 (July 2011): 54–85. http://dx.doi.org/10.1162/grey_a_00038.

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45

Rocco, Renata, and Victor Tuon Murari. "O Ato Autobiográfico como Estratégia: O caso dos pintores italianos da primeira metade do século XX." Revista de Italianística, no. 47 (December 22, 2023): 101–19. http://dx.doi.org/10.11606/issn.2238-8281.i47p101-119.

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O ato autobiográfico é parte de uma estratégia utilizada pelos artistas modernos como forma de assegurar que sua visão dos acontecimentos seja preservada e julgada no futuro. Para que tal estratégia tenha sucesso, os artistas devem estabelecer uma relação de confiança com seus leitores, a fim de que possam garantir que sua versão dos fatos seja considerada a mais coerente e verdadeira. Com este artigo, propomos discutir alguns aspectos dos escritos autobiográficos de quatro pintores italianos: Carlo Carrà (La Mia Vita, 1943), Gino Severini (Tutta la vita di un pittore, 1946), Massimo Campigli (Scrupoli,1955) e Giorgio De Chirico (Memorie della mia Vita, 1960), trazendo à luz pontos de convergência e divergências entre eles. A escolha pelos quatro artistas se baseou na atuação dos mesmos durante o período fascista e nas relações estabelecidas com agremiações proeminentes, como: o Futurismo, a Pintura Metafísica, a Pintura Mural e os "Italianos de Paris" e por suas atividades enquanto teóricos da arte.
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46

Da Cunha Pereira, Gabriel. "RELAÇÕES INTERARTES NO MODERNISMO BRASILEIRO:." Missangas: Estudos em Literatura e Linguística 1, no. 1 (December 20, 2020): 137–53. http://dx.doi.org/10.53500/msg.v1i1.9778.

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Muitas e de modo vário são as relações interartes na literatura brasileira. Este artigo privilegiará as interfaces da literatura com a música e com a pintura, no contexto do Modernismo Brasileiro. Abordando às conexões entre literatura e pintura, queremos nos ater ao duplo caminho que a obra de Murilo Mendes nos proporciona. Primeiramente, como colecionador e crítico de arte que foi, destacaremos o poema “Il figliol prodigo”. Publicado em italiano no livro Ipotesi, foi escrito a partir da leitura do poeta sobre o quadro de título homônimo do artista plástico Giorgio De Chirico, com quem o poeta mineiro teve contato durante seu exílio voluntário na Europa. Em seguida, queremos analisar a leitura do artista plástico Ramón Brandão sobre a sua obra do poeta mineiro. A originalidade dessa segunda parte da análise se deve ao fato de que não irá se tratar de um sistema sígnico verbal lendo outro não verbal (como costumeiramente acontece), mas do sistema visual interpretando o sistema verbal. Voltando-nos, em um segundo momento, para as relações entre literatura e música, ater-nos-emos (1) à análise do “Trenzinho do caipira” (composição que integra as Bachianas Brasileiras número 2, composta por Villa-Lobos em 1930 e que, em 1975, recebeu letra de Ferreira Gullar, retirada de um trecho de seu “Poema Sujo”); e (2) às interferências da formação musical de Mário de Andrade no seu livro de poemas Paulicéia Desvariada.
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Kormin, Nikolai Aleksandrovich. "Art and aesthetic structures of metaphysics of color." Культура и искусство, no. 5 (May 2020): 47–76. http://dx.doi.org/10.7256/2454-0625.2020.5.32877.

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This article analyzes the aesthetics of color as a branch of metaphysics of light and entire photonic zone, which from phenomenological perspective can be viewed as the source of intentional radiations in various bands. It is demonstrated that the image of light is the result of work of aesthetic and artistic consciousness that pan the world and place of a human therein; at the same time, it is important to underline the set-up of meaning with all its predicates in the a posteriori score of color perception itself. Special attention is given to examination of the phenomenology of color. Metaphysically, it represents an even, when the color reflect itself in the value and acquires a prospect. Structuring of modern phenomenological attitude to reality leads to the emergence of new opportunities for the experience of working with color, reconsideration of beauty of coloristic data. According to Husserl, color originated by fantasy, can be an act of life within aesthetic consciousness. Despite the rich research material on the topic, these is still no special research that would demonstrate the artistic shift of boundaries of the color image in relation to metaphysical axes of reference (which becomes a leitmotif for metaphysical painting Giorgio de Chirico), as well as possibility of existence of cross-platform toolset that works on several instrumental systems of aesthetic consciousness and allows conducting the analysis of aesthetic methods of examination of the color itself. This article helps to fulfill such gap.
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O’Kane, Paul. "The secret life of objects in the immanent art of Morandi: Or: How art shows us how to write about art if we only let it1,2." Journal of Writing in Creative Practice 16, no. 1 (April 1, 2023): 85–108. http://dx.doi.org/10.1386/jwcp_00047_1.

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In this example of relatively long-form art writing, the writer begins by relaying an anecdote regarding a difficult interaction with an editor. As this rocks the confidence of the writer, they try to rally themselves but seeking out an almost arbitrary receptor for their art writing skills and passions. This turns out to be a concurrent exhibition of the paintings of Giorgio Morandi. The piece describes the writer’s feelings, as well as the journey to the gallery, and ultimately creates a form of review or representation of the exhibition. However, the initial impulse for the piece remains and is returned to in a series of analyses of the writer’s method. This includes a candid exploration of the writer’s considerations of the place of judgement in their own and in contemporary art writing. Ultimately, the piece toys with the idea that, in an age of ambivalence, in which judgements all too easily seem all too harsh, it might just be the use of adjectives that are sufficient to betray an art writer’s evaluation of what they are otherwise simply describing. While the initial criticism by an editor involved the concept of transcendence, the art writer takes this accusation on board and tries, again candidly, to judge themselves, and for themselves, with regard to this concept. Ultimately, they find that, far from leaning towards transcendent values in art they are in fact committed to forms of immanence. Along the way other artists, including Cezanne and De Chirico, as well as other thinkers such as Deleuze and Alfred Jarry are utilized to develop the lines of thought. Ultimately, and rather obliquely, the piece becomes a response to the editor’s riposte and appears to succeed, to some extent, in re-founding the writer’s confidence in their own methods and beliefs, to which they have been led by their own approach to art writing, and of course by the art itself.
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Heyndels, Ralph, and Lynne S. Vieth. "Photomechanical tendencies in Giorgio de Chirico's Melancholy vision." European Legacy 1, no. 4 (July 1996): 1310–15. http://dx.doi.org/10.1080/10848779608579570.

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50

Weston, Dagmar Motycka. "Moody Attunement in Giorgio de Chirico's Metaphysical City." Architectural Design 88, no. 2 (March 2018): 30–35. http://dx.doi.org/10.1002/ad.2276.

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