The story of a painting, the analysis that everyone can do within himself in his contemplation and the inner motion that can arise inevitably bind to the reasons linked to the author and his personal experience. In front of the work of Giorgio De Chirico one remains always amazed if only because the normal consciousness of the impassibility that exists in everyone is affected, the immobility that becomes universal and shows us its exact opposite, the mental dynamism of an instant.Understanding Giorgio De Chirico means an act of faith towards a permanent classicism that pervades in a new language the road to the memory of an ever-evolving Western world. The metaphysics that launches G. De Chirico in the figurative cosmos is the apotheosis of silence, it is the enjoyment of a momentary stasis that preludes to an early sensitivity, that of seeing forms as monuments whose meaning is radical, without emphasis, immutable and imperishable, it is other but not significant for what we observe, it is enigma.Giorgio De Chirico leaves us with a dialectical sphinx or an admonitory warning from Delphi that they can go to perturb daily life through sudden sensations, the humanity that he paints is not to say anything, there is only, and simply in his own existence , there is a short representative circle, a yearning for transcendence.
We remain disoriented, we enter into a vortex of space / time suspension that brings us back to the level of metaphysics, of a reality that goes beyond and which inspires the paths of the continuous search for truth.
Knowledge is in the essence of things and intelligence is in its own awareness, in its self-certification that allows it to learn the universal things, the things in which, as in the metaphysics of G. De Chirico, have subject and object coincide.
A beautiful intuition of the reality that carries out the mystery is given to us by the artist in one of his writings when he recounts the experience that led him to paint the work The Enigma of an Autumn Afternoon:
“…, I will now say how I had the revelation of a painting that I exhibited this year at the Salon d’Automne and whose title is: The Enigma of an Autumn Afternoon During a clear autumn afternoon I was sitting on a bench in the middle of Piazza Santa Croce in Florence It was certainly not the first time I saw this square, I had just come out of a long and painful intestinal disease and I was in a state of almost morbid sensitivity. to the marble of the buildings and fountains, it seemed to me convalescent: in the middle of the square stands a statue representing Dante wrapped in a long cloak, which clasps his work against his body and inclines his thoughtful head to the ground. The statue is in white marble, but the weather gave it a gray tint, very pleasant to behold.The autumn sun, lukewarm and without love illuminated the statue and the facade of the temple.I had the strange impression of seeing all those things for the first time composition of the picture appeared to my spirit; and every time I look at this painting I relive that moment. A moment, however, that is an enigma for me, because it is inexplicable. Therefore I like to call enigma also the work that derives from it. “.
Nietzsche, Schopenhauer and Eraclito are the reference point of G. De Chirico for the recovery of classicism, in the works there is a total confluence of philosophical quotations that become pictorial visions.
The poetic suggestion of the ancient mediterrranean culture is lasting in the work of G. De Chirico. It shows the instinct of man towards nature and the rational process stripped of illusions to deepen the perception of reality leaving to highlight the incomprehensibility.
He wrote: “We who know the signs of the metaphysical alphabet know what joys and what pains are enclosed within a portico, the corner of a street or even in a room, on the surface of a table, between the sides of a The limitations of these signs constitute for us a kind of moral and aesthetic code of representations and, moreover, with the light we create a new metaphysical psychology of things in painting: the absolute consciousness of the space that must occupy an object in a frame and of the space that divides objects between them establishes a new astronomy of things attached to the planet by the fatal law of gravity: meticulously careful and prudently weighed use of surfaces and volumes constitutes canons of metaphysical aesthetics “.
So here is how the knowledge of the world and its sensory application involves us in an intellectual step of great depth to open to the thought, to the mind, an aesthetic visibility that offers immortal concepts, concepts that can bring back even past suggestions, memories, signs intangibles that reshape our life.
In G. De Chirico there is a deep oneiric involvement as a metaphorical mythological and heroic syntax that lead us to understand his creative stimuli and to dwell on the difference between the images produced by the imagination and those produced by the dream. The images of the fantasy are accompanied by their arbitrariness, while those of the dream are true and real and possess an objective thickness of things and reality. G. De Chirico is the artist of the mystery, the one that puts before us the concerns of the fear of the unknown. The human condition is reflected in a clear existential reflection, the purity of time is given by what remains immobile, from that archaic sense that will always be found in the search for the classic revisited with a contemporary perspective, the mystery is the key element that holds in life the play of mirrors in which mythology and modernity are reflected.
G. De Chirico is an intellectual of his time who maintains important relationships with writers and artists of the early twentieth century, he will give great impetus to the Italian culture recognized in the world and will be a point of reference for the avant-gardes, will open the way to surrealism.
The metaphysics of G. De Chirico is a journey in which we find ourselves defending the path that our intellect makes in the face of riddles and questions and it is like navigating the karstic river of the mind to reach the sea of immortality, we find ourselves to mirror oneself in the dream of one’s own conscience so as to recognize the value and the thickness of the soul in signs that alternate between amazement and perplexity, it is an adventure moved between aesthetics and apparent immobility.