Giorgio de Chirico

Galleria Barcaccia, Roma
Ivi acquisito dalla famiglia dell'attuale proprietario

This work is in very good overall condition. Ther is a tiny loss along the upper left edge. Varnish is slightly shinier towards the arcades. No traces of retouching appear to be visible under UV light. Colors are slightly warmer compared to the catalogue illustration.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Prima della Grande Guerra, Giorgio De Chirico inizia la serie delle Piazze d'Italia, dove ombre misteriose scendono dai portici come in un sogno. (...) De Chirico parte dal mito di Arianna, la figlia di Minosse che aiutò Teseo, venuto a uccidere il Minotauro, a ritrovare l'uscita dal labirinto con un filo d' oro. L' eroe la portò con sé, ma poi l'abbandonò sull'isola di Naxos. Ai Musei Vaticani c' è una statua romana, copia d'un originale ellenistico, che ritrae la fanciulla nel sonno, la testa appoggiata a un braccio. E' questa figura che De Chirico mette al centro delle piazze, di Malinconia. Erano gli anni in cui (con Picasso, Braque e Brancusi) rifiutava ogni imitazione della natura. Per questo, nelle piazze (...) i dettagli non quadrano: lunghe ombre indicano l'ora del primo mattino o del tramonto, ma incongruamente l'orologio della stazione segna le due. (...) In realtà, il quadro (che non ha un'unica prospettiva) smonta l' immagine, in una sorta di cubismo italiano, allo stato nascente. 

Before the Great War, Giorgio De Chirico started the Piazze d’Italia series, where mysterious shadows impend from the arcades like in a dream. For this series, De Chirico was inspired by the myth of Ariadne, where Minos’ daughter helped Theseus - who had come to kill the Minotaur -  find the labyrinth’s exit with golden thread. The hero took her with him but then abandoned her on the island of Naxos. In the Vatican museums there is a Roman sculpture that portrays Ariadne sleeping, her head resting on her arm. This is the iconic picture that De Chirico portrays in the centre of his squares, in Malinconia. Those were the years when, along with Picasso, Braque and Brancusi, De Chirico rejected any imitation of nature. Following this decision, in De Chirico’s squares details do not abide by the laws of reality; while long shadows suggest the early hours of sunrise, the hands on train station’s clock point at two in the afternoon (...). In reality, the work (which has more than one interpretation) disassembles the image in a sort of nascent Italian cubism.

Alessio Altichieri, De Chirico e il mito di Arianna, Estorick collection


L'opera è accompagnata da attestato di libera circolazione

An export licence is available for this lot.