Exhibition of Kiriko in the Tretyakov Gallery. "Giorgio de Chirico

Exhibition " Metaphysical insights" Giorgio de Chirico (1888-1978), a joint project Tretyakov Gallery and the Giorgio and Isa de Chirico Foundation, the art festival opened Cherry forest".

Paintings by Giorgio de Chirico were shown in Russia in 1929 (at the exhibition "Modern French art"), and Boris Ternovets, director of the Museum of New Western Art, wrote one of the first monographs about the artist, which was published in 1928 in Milan... Moreover, thanks to Ternovets, one of de Chirico’s paintings - “Roman Women” (1924) - was purchased museum, and the drawing "Muse Consoling the Poet" (1925) donated by the artist with a dedication to "Monsieur Ternovets..." is now in the collection of the Pushkin State Museum of Fine Arts. But such a large exhibition of Giorgio de Chirico is in Russia for the first time.

Among the 109 works presented at the exhibition on Krymsky Val are paintings, graphics, sculptures, theatrical costumes(including the last Diaghilev production of 1929 - the ballet "Ball", choreographed by George Balanchine) from seven museum and private collections. In addition to the Giorgio and Isa de Chirico Foundation (Rome) and the Pushkin Museum. A.S. Pushkin, works for the exhibition in Moscow were provided by National Gallery new and contemporary art(Rome), the Museum of New and Contemporary Art of Trento and Rovereto, the Center Georges Pompidou (Paris), the Victoria and Albert Museum (London), as well as private Western collectors.

The architecture of the exhibition (Sergei Choban, Agniya Sterligova) gives the viewer the opportunity to feel inside de Chirico’s space. Not only thanks to the costumes for the ballets “Proteus”, “Pulcinella” and “Bal”, but also because the pavilions where the graphics are exhibited resemble huge fragments from the melancholy space of his paintings of “autumn afternoon”, be it a fragment of an antique column, a square, or oval heads of mannequins... And the Italian film (with Russian subtitles) allows you to hear the artist himself.

Curators Tatiana Goryacheva and Gianni Mercurio faced a difficult task, considering that most of early works Giorgio de Chirico, created after the artist’s famous “epiphany” at the Basilica of San Croce in Florence in 1910, when he suddenly felt as if he was seeing everything around him for the first time, is in American museums(with whom we have now stopped museum exchanges). The curators gracefully got out of the situation by making the theme of “Eternal Return” one of the central motifs of the exhibition. Fortunately for Giorgio de Chirico, who in his declining years, since the late 1950s, has been repeating the plots of the early metaphysical paintings of the 1910s, the theme of the “return of Ulysses” turns out to be one of the most important. The exhibition includes a work of the same name from 1968, where the young Ulysses-Odysseus sails in a boat on the sea, which is enclosed in the space of a half-empty room with recognizable attributes of de Chirico’s world.

On the wall is the painting “The Mystery of an Autumn Afternoon” (1910), the same one from Florence, with the figure of Dante in the square; opposite is a window through which you can see an ancient temple in the mountains. A high pink armchair, a Viennese chair, a wardrobe and an ajar door - that’s the whole interior in which dream and reality, time and eternity meet.

This late work, I must admit, looks like an emblem, a reference to “metaphysical insights” youth. What can be seen right there, at the beginning of the exhibition. For example, to “Midday Melancholy” (1913) from the Center Georges Pompidou - with huge artichoke cones in the foreground and a tiny black train with clouds of smoke crawling along the horizon, which closes the Renaissance perspective of the square. Or - to "Piazza d'Italia (Mercury and Metaphysics)" (1920) - here in a deserted square with a white marble sculpture, nothing reminds of modernity except the figure of a woman in blue dress on the balcony. With these works you understand why Andre Breton, as the poet Yves Bonnefoy writes, jumped out of a bus while he was on the move when he saw one of Giorgio de Chirico’s early paintings in a Paris window and rushed to look for the author.

Mercury is, of course, one of de Chirico's favorite heroes. It is him, and not Ulysses, that he feels as his alter ego. Last but not least, thanks to the name: Kirikos in Greek means “messenger”, “prophet”. In the artist’s drawings, the image of Mercury also appears in the 1972 illustrations for his novel “Hebdomeros” (1929) (that is, “consisting of seven parts”), where the messenger of the gods either escorts the souls of the dead to Hades, or sends dreams to the world of the living... It will also appear in the New York drawing, where Mercury, clearly merging with the image of the patron of trade, Hermes, like a magician, turns a waterfall of coins into a scattering of curls of antique columns...

Another favorite image is the Argonauts. Giorgio and him younger brother Andrea (he would become a poet and take the pseudonym Alberto Savinio) was born into an Italian family, but in the Greek town of Volos in Thessaly, from where, according to legend, Jason sailed for the Golden Fleece. It is not surprising that the boys played Argonauts on the seashore, just as our children used to play Cossack robbers. The inseparable brothers were not averse to comparing themselves with the twins Caspar and Pollux: it’s not for nothing that in the drawing “Philosopher and Poet” (1916) Giorgio draws the constellation Gemini on a slate board. In Paris, their surrealist friends will jokingly call them Dioscuri, “youths of Zeus.” The world of ancient myths was next to them, like blue sky Greece. In general, it is clear why, on the canvas “Hector and Andromache” (1924), where the heroes of the “Iliad”, as if descended from ancient Greek vases, say goodbye forever against the backdrop of burning Troy, their silhouettes are painted with aching pictorial warmth.

Before us are the heroes of a sublime tragedy. And although de Chirico, they say, really did not like it when his work was compared to scenography, it was his words about the theater that explained a lot in his position as an artist. "Theater was born from our need for a supernatural world. (...) With the help of pantomimes they tried to show other world, merge with it, satisfy the desire to see the invisible, touch it, plunge into mystery, leave doubts. (…). The spectacle should free us from reality, give us the opportunity to find ourselves, if not in another world, then at least in another life - so, adhering to such a point of view, I deny all realism...”, he wrote in the article “Theater- spectacle."

Mercury is one of de Chirico's favorite heroes. It is him, and not Ulysses, that he feels as his alter ego

Actually, this premonition of mystery, this daring confidence that, like the messenger of the gods Mercury, the secrets of the invisible are revealed to him, alienates de Chirico both from boring academicism and, oddly enough, from the surrealists. For them, turning to myth looked like a retreat from the new art; for de Chirico, it looked like a return to their “home port.” It is no coincidence that he declares that “in the new art there is something from an astronomical observatory, from a financial inspection, from the office of the port chief. The concept of the unnecessary has been destroyed...”. With the care of a sailor, he planned his route to immortality.

It must be said that among Russian artists Giorgio de Chirico has long found himself in the role of a “prophet”. And not only surrealism. Quotes from the paintings of this passionate Nietzschean (“I am the only one who understood Nietzsche,” de Chirico could say, who even in self-portraits painted himself in the pose of an adored philosopher, also resting his head on his hand, like the one in the photograph), whose works were the first to be appreciated by the surrealists, founder of the new "metaphysical painting", domestic artists(from Malevich to Deineka) were woven into their works with varying degrees of elegance. And the echoes of his manifestos, striking and daring (be it “Return to Mastery” or “New Art”), can be unexpectedly heard in the rhythm and style of Timur Novikov’s texts. Giorgio de Chirico's "eternal return" to myth, his rebellion and premonition of "mystery" will probably be in demand as long as art is alive.

For the first time in Russia, a large-scale exhibition of Giorgio de Chirico, an Italian artist of the 20th century, founder of the “ Metaphysical painting", who is called the forerunner of surrealism. The exhibition took place in the halls of the Tretyakov Gallery on Krymsky Val, which has recently become known as the “New Tretyakov Gallery”. The exhibition takes place within Open festival arts "Cherry Forest". Report by Stanislav Dore.

This exhibition is one of the most anticipated events of the year. They talk about it not only here, but also abroad, because any exhibition of works by Giorgio de Chirico of this scale is a world-class event. IN New Tretyakov Gallery a huge number of guests gathered - there are two openings here at once: the exhibition itself and the Cherry Forest festival, within the framework of which the works of de Chirico are shown.

“I will not bore everyone present with a long story about who de Chirico is; you will see for yourself how important and significant a figure this artist is,” emphasizes Zelfira Tregulova, CEO Tretyakov Gallery.

“I think if de Chirico were alive, he would be very happy about this exhibition. And these are not empty words, because he had a lot in common with Russia,” noted Paolo Picozza, President of the Giorgio and Isa de Chirico Foundation (Italy).

This is true. De Chirico's grandfather was a diplomat and often visited our country. The artist himself communicated a lot with Russian poets and representatives of art, worked with Diaghilev - his costumes created for the “Ball” are on display, in addition, both of his wives were Russian. De Chirico himself was born in Greece, ancient images and myths occupy important place in his work.

“One of the most magnificent paintings that we have at our exhibition is “Two Roman Women,” a work from the collection of the Pushkin State Museum of Fine Arts. It is interesting because it was first exhibited in 29 at the Museum of New Western Art, and it was purchased from there,” explains Tatyana Goryacheva, curator of the exhibition.

The exhibition, which presents about 100 works, tells about all the important periods in the artist’s work, which is woven from ancient myths, psychology, Nietzsche’s philosophy and the history of world fine art.

“An absolutely amazing artist, practically unknown in our country, but understanding and knowledge of his work is very important for the cultural background,” shared Olga Golodets, First Deputy Prime Minister of the Russian Federation.

In the 30s, unexpectedly for many, de Chirico turned to realistic painting, for which the surrealists labeled him a traitor. And he responded that it was impossible to become an artist without understanding the classics and continued to copy and develop the ideas of the great masters. Dorjo de Chirico loved to paint self-portraits; he believed that he himself was the most beautiful and patient model.

The exhibition includes four self-portraits. One has a date of creation and the other does not. Chirico once decided to stop putting them on, citing the fact that art is timeless. However, experts have a different opinion: de Chirico’s late realistic works did not sell very well.

Later, dates appeared again in his paintings, and specifically in those associated with his metaphysical experience. A few years before his death, de Chirico decided to rewrite several of his iconic works, which can also be seen in the exhibition. Apparently, towards the end of his life, the artist realized that visualizing his dreams and making them come true strange worlds and images from his subconscious were better than trying to comprehend the real world.

Following the nostalgic “Thaw” project, the Tretyakov Gallery is preparing a new exhibition hit. A retrospective of Giorgio de Chirico, the founder of metaphysical painting, is opening in Russia for the first time.

The mysterious world created by de Chirico traditionally attracts the viewer. Throughout his life, the artist turned to the traditions of Antiquity, classical old art, and was fascinated by the philosophy of Nietzsche. In addition, de Chirico was a big fan theatrical arts- viewers of the Moscow exhibition will be able to see for the first time the costumes he created for Sergei Diaghilev’s ballet “The Ball” in 1929.

"Orpheus is a tired troubadour." 1970. Giorgio and Isa de Chirico Foundation, Rome.

Theatricality is perhaps the main thing distinguishing feature art by de Chirico. Airless landscapes in which time seems to have frozen forever, midday heat, deserted streets with the ruins of ancient monuments and antique masks- his paintings are often called “illustrations of dreams” - he “works” with the subconscious so subtly and sometimes ironically. Later, this “technique” would be borrowed by the surrealists and become central to their work.

"Inner metaphysics with the head of Mercury." 1969. Giorgio and Isa de Chirico Foundation, Rome

The exhibition of the Italian avant-garde artist took a year and a half to prepare. The main partner of the Tretyakov Gallery was the foundation of the heirs of the Italian avant-garde artist - Giorgio and Isa de Chirico. Viewers will see more than 100 works of painting, graphics and sculpture brought from Switzerland, France and Great Britain.

"Self-portrait in a black sweater." 1957. Giorgio and Isa de Chirico Foundation, Rome.

During his lifetime, de Chirico was known as an extremely narcissistic person, without hesitation calling himself the best artist XX century. According to the curators, his appeal to the traditions of Titian, Rembrandt and Rubens shows how great was his desire to place himself on a par with the great masters of the past. De Chirico's egocentrism is also reflected in the exhibition - several self-portraits of the artist, executed in various manners, are presented.

"Giorgio de Chirico. Metaphysical Insights” is the name of the exhibition, which opened on April 20, 2017 in the New Tretyakov Gallery on Krymsky Val. It will last until July 23, 2017 and will provide an opportunity to the Russian viewer get to know closely the iconic figure of Russian-Italian relations of the 20th century, for the first time since the artist’s lifetime exhibition in 1929. By the way, it was then that the Pushkin Museum im. A.S. Pushkin acquired his “Romans”...

Giorgio de Chirico (1888-1978) – Italian artist, descended from an ancient aristocracy - Sicilian on his father and Genoese on his mother. He lived most of his young life in Greece, absorbing its antiquity.

The environment of Orthodox Greek culture probably also made itself felt, and became the painter’s first link with Russia. In addition, he was twice married to women originating from Russia, and was friendly and collaborated with S. Diaghilev.

The idea of ​​showing Giorgio de Chirico’s exhibition in Moscow as important for Russian-Italian relations was highly appreciated by V.V. Putin and S. Mattarella, Presidents of both countries. Its implementation fell on the shoulders of the Tretyakov Gallery and the Giorgio and Isa de Chirico Foundation, and was supported by 5 museums and private collections in Europe. A total of 100 works are presented, including theatrical costumes, sketches, figurines and paintings.

The result of the efforts was something special and large-scale. As the organizers of the exhibition unanimously noted, G. De Chirico was one of the great artists of the 20th century, along with P. Picasso. According to the Italian curator of the project G. Mercurio: “De Chirico was convinced that art is a cycle where everything returns and art itself gives birth to art.”

Almost everything famous images ancient art, the Middle Ages and the Renaissance appear before the eyes of the viewer, but all this is done in a special, unique manner. Although the exhibition contains 3 sections that mark de Chirico’s path to the metaphysical exploration of the world through neoclassicism, revival and Nietzscheanism, antiquity never leaves his canvases, leaving a symbolic trace in all his works.

When asked whether the artist de Chirico is national or supranational, O. Strada answered: “Of course, he is Italian pride, therefore he is an Italian artist. At the same time, it is supranational. Moreover, we already live within the borders of Europe, a broader concept of a country. And in those days, we must not forget, artists traveled to cultural capitals. In the 1920s, this was Paris, then London, then Rome and Milan... Because all artists always try to absorb what is new.

As for de Chirico, he lived in Greece for many years, his father was an engineer and he worked there. Therefore, of course, all Greek culture, Greek tradition is part of de Chirico’s aesthetic landscape. He also studied in Berlin, where modernism was in vogue in those years. But de Chirico did not like fashionable art because he believed that it was superficial. He loved A. Böcklin very much, and for some time tried to extract the essence of his art. Another very important thing for de Chirico was knowledge of the philosophers of that time. He spent his life reading Nietzsche and Schopenhauer, and his paintings often reflect Nietzsche's philosophical thoughts. For example, the theme of eternal return.”

Exhibition “Giorgio de Chirico. Metaphorical Insights” opens the “Cherry Forest” festival, organized by the famous company Bosco di Ciliegi, its founder M.E. Kusnirovich. De Chirico entered his life, in the Italian office, in 1995 in the form of two copies of his paintings - there he was imprinted in his memory and remained in it. “E-Vesti” took this opportunity to ask Mikhail Ernestovich how important de Chirico is for us and for our culture today: “I think he is very important. De Chirico “spinned” himself deep and high, and invited the viewer to do the same. There is a lot to think about: images, combination of planes, volumes, colors... For a discerning viewer, this is what you need. These are not wonderful “bears in the forest”, not only that.

All the artists of the early 20th century were in an excited state; they felt their missionary mission and anticipated the development of such huge amount currents. Someone was the forerunner of surrealism, someone was engaged in futurism, someone was an avant-garde solution... They were faced with universal, worldview problems, and that’s why, it seems to me that after 100 years and beyond, this remains modernity”...

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IN Tretyakov Gallery The exhibition "Giorgio de Chirico. Metaphysical insights" opened on Krymsky Val. Victoria Noel Johnson, curator of the Giorgio and Isa de Chirico Foundation in Rome, explained to Ogonyok what insights we are talking about

Quoting De Chirico is as much a pleasure as looking at his deserted, frozen paintings. "In the shadow of a man walking under the sun, more mystery than in all present, former and future religions,” he wrote. And here’s another: “Art is a fatal net, capturing on the fly those strange phenomena that break out, like large mysterious butterflies, from everyday life.”

A mysterious world, immersed either in a dream or in a magical stupor, the existence of objects illuminated by some kind of cold extraterrestrial light, dream symbols and encrypted ghosts - this is all de Chirico. Having seen his paintings once, you can’t forget them and you can’t shake the feeling that there is something that needs to be understood. It was not for nothing that de Chirico was “moved” by Picasso and Apollinaire, and Dali and Magritte immediately guessed in his works the optics they needed, which they made their own.

In Russia, de Chirico is almost unknown. At the Pushkin Museum named after. Pushkin has two of his paintings, and that’s all. Therefore, the exhibition of Giorgio de Chirico at the Tretyakov Gallery may become a discovery of a metaphysical genius for Russian viewers.

— Moscow public in last years spoiled art exhibitions, including the great Italians. How will you convince her to go with de Chirico, who is practically unknown to her?

— Giorgio de Chirico is one of the fundamental and important artists of the 20th century. Many art critics put him on a par with Picasso. The metaphysical one he invented a hundred years ago artistic method opened the door to contemporary art, gave A New Look numerous artists who were greatly influenced by de Chirico's work. And we are very glad that, thanks to our joint project with the Tretyakov Gallery, the Russian public will be able to see what influence de Chirico had not only on Western modernist and contemporary art, but also on Russian artists. Many of them (Malevich, who recommended his students to study de Chirico, as well as Deineka, Shevchenko, Ermolaev and others.— "ABOUT") there are clear parallels with his work.

— You brought a very extensive retrospective of an artist who has practically never exhibited in Russia. Wanted to catch up on lost time?

— The idea of ​​the exhibition that opened at the Tretyakov Gallery belongs to Gianni Mercurio, its curator on the Italian side, and his Russian colleague Tatyana Goryacheva. Initially they thought to show de Chirico's work through the prism of his relationship with postmodernism. But in the process of work, the concept of the exhibition developed and became more extensive.

The exhibition is really very large-scale. And although it covers all 70 years of the artist’s work, the exhibition is not a retrospective in the traditional sense. Rather, it is intended to demonstrate an absolutely unique creative method artist.

—What does this mean, “metaphysical works”? And what does the “epiphany” stated in the title of the exhibition have to do with it?

— As de Chirico himself wrote, the metaphysical method is to see the world as in childhood, when any object is a discovery, an insight. It was a new view of the world, and it is this view that makes de Chirico's works unique.

Throughout his life, he changes styles and colors, techniques, subjects, but his artistic method - to see the unusual in the ordinary - remains unchanged throughout the years of creativity. From the moment when de Chirico discovered this artistic vision in Florence in 1910 (according to the artist himself, he saw the square in front of the Santa Croce Cathedral as it should be in Plato’s ideal world, which he captured in his first painting " The mystery of an autumn afternoon."— "ABOUT"), and until 1978, when the artist died, he remained a metaphysician.

In the 1940s-1960s he was engaged in figurative painting, baroque, he has many paintings inspired by the great artists of past centuries. And still, the leading thread of his work even then was metaphysics.

— You spoke about the influence of de Chirico on our artists. But, as we know, the artist was also connected with Russia by other ties...

- This is true. De Chirico was married twice, both times to Russians. His first wife Raisa Gurevich was a ballerina. They met in 1925 in the Roman theater, for which the artist made sketches of scenery and theatrical costumes, and Raisa was a prima ballerina in it. They subsequently got married and lived in Paris.

— Almost like Picasso and Olga Khokhlova. About this romantic story tells the section of the exhibition called "Ball"?

- Not really. Raisa danced in the Roman theater, not in Diaghilev’s enterprise, which staged “The Ball”. But we thought that for de Chirico’s first exhibition in Russia it would be important to show the artist’s connection with Russian art, with Russian ballet. And in this section we present beautiful costumes for Diaghilev’s ballet “The Ball” from the collection, made according to de Chirico’s sketches British Museum Victoria and Albert. Suits self made, and on their reverse side are embroidered the names of the dancers for whom they were intended. An interesting detail is that these things have never been washed since the 30s, you can even see sweat stains on them, we can say that they demonstrate de Chirico’s connection with Russia, which was very strong.

- What can’t be said about his first marriage...

— Yes, in 1931, Raisa Gurevich and Giorgio de Chirico separated, and he married Isabella Pakszver, who also had Russian roots. Isabella remained with the artist until the end of his days and was very important to him. Muse - we see her in many of de Chirico’s canvases, where she appears either in the form of a goddess or a heroine. Assistant - she organizes exhibitions and other administrative activities. Guardian - after the death of Giorgio de Chirico, Isabella created a foundation for artistic and literary heritage artist, and she bequeathed everything to this foundation, including great house in the Plaza de España, where they lived together for 30 years. This house now houses our foundation, which bears the name of Giorgio and Isa de Chirico.

— What does the foundation do?

— The foundation has existed since 1986, its task is to protect and study the artist’s artistic heritage. The foundation owns more than 500 works by de Chirico - paintings, drawings, watercolors, sculptures, theatrical costumes, and an extensive literary heritage.

Part of the collection - approximately 50 paintings - is exhibited in the house-museum, into which an apartment in Plaza de España has been converted. It is known that the artist, who traveled a lot and lived in different cities and countries, considered this apartment to be his real home. He liked to say that it was located "in the center of the center of the world." In addition to the state rooms, we show visitors a very intimate part of the house - the bedrooms of Giorgio and Isabella, as well as the artist’s studio. In addition, the foundation is engaged exhibition activities, publishes the almanac "Metaphysics", which publishes articles exploring the work of de Chirico.

— And yet, not all exhibits at the exhibition came to Moscow from your fund...

— Our collection dates back to the 1930s. More early paintings, dating back to the first metaphysical period of the 1910s, are stored in foreign museums, mostly American - de Chirico, like many artists, sold his works in his youth.

In addition to our fund, exhibits for the exhibition were provided by the Museum of New and Contemporary Art of Trento and Roveretto (Italy), the Georges Pompidou Center (France), the Victoria and Albert Museum (Great Britain), the Pushkin Museum. A.S. Pushkin (Russia).

— You put de Chirico on a par with Picasso.

—Yes, both of them are the supporting pillars of 20th century art. It is known that it was Picasso and Apollinaire who discovered de Chirico in the 1930s after seeing his works at the Paris Autumn Salon. Picasso was generally one of the few artists whom de Chirico respected and appreciated. And Picasso answered him in kind. It is difficult to say which of them influenced whom. But there are paintings at the exhibition in which a parallel with Picasso is clearly discernible. We are talking about two paintings from the series “Roman Women” - one from Moscow Pushkin Museum, another provided by the Roveretto Museum—which depict huge female figures. By the way, the model for them was Raisa, the artist’s first wife.

— What about Dali and surrealism, whose father de Chirico is officially recognized?

— As for the surrealists and Dali, de Chirico’s closeness with them was very short, and after the break in 1926 there was no contact between them. They hardly collaborated creatively. Nevertheless - and this is generally accepted - de Chirico is the "father" of the surrealists, and they were visible under his influence.

They did not really understand the concept of metaphysics, but they appreciated its visual expression, in particular the ability to make tangible the suspension of time and space that is so evident in de Chirico's paintings.

— Which of contemporary artists can be considered the heirs of de Chirico?

— De Chirico was unique. He did not leave either school or movement, except for the fact that surrealism immediately picked up and made his view of the world its own. But many contemporary artists were clearly influenced by him. For example, they note the influence of de Chirico on Andy Warhol. In the 1950s and 1960s, de Chirico was passionate about creating very similar friends on other versions. He practically copied himself. This applies to such textbook series as “The Destruction of the Muses” or “Piazza d’Italia”. Warhol immediately appreciated the possibilities of such original copies.

Or, for example, Cindy Sherman (an American artist working in the technique of staged photographs, known for a series of historical self-portraits, where she appears in images captured in paintings by great artists.— "ABOUT"). Her experiments were clearly inspired by de Chirico's series of self-portraits of the 1940s and 1950s, in which the artist took subjects from paintings by great masters, such as Rubens, and gave the figures depicted in them his own face. The Moscow public will see these portraits.

De Chirico was very close to the concept of eternal recurrence, which he learned from Nietzsche and which influenced him in his youth big influence. He agreed with the great philosopher that time has a cyclical closure and that the 17th and 18th centuries can coexist on the canvas with the 20th century. That is why he considers it possible to share a single space with great masters. The metaphysical view suggests that time and space can be stopped.

— In general, de Chirico’s paintings require explanation.

— Yes, and that’s why we decided to publish for the exhibition large selection texts by de Chirico, which are published in Russian for the first time. This is important because we, art historians, give many explanations of his work, but the voice of the artist himself will explain his works better than anyone else. De Chirico is a fundamental artist who remains to be discovered and discovered.

Interviewed by Elena Pushkarskaya, Rome