A scholarly and well-researched text presenting two essays intended to clarify de Chiricos life and its many ups and downs. Filled with thoughtful analysis and thought-provoking sentiments, The Case of Giorgio de Chirico will provide art lovers with new insights and answers on this enigmatic artist and his career.

- The fourth volume of Giorgio de Chirico's Catalogo Generale with 451 paintings, drawings, and watercolours dating from 1913 to 1975 This fourth volume of the Catalogo Generale, published in 2018, features 455 paintings, watercolors, and works on paper dating from 1913 to 1975 by Giorgio de Chirico which have been authenticated and dated by the Fondazione Giorgio e Isa de Chirico. This brings the total number of works published in the complete catalog to 1831. It includes an introductory essay by Lorenzo Canova, a foreword by Paolo Picozza, President of Fondazione Giorgio e Isa de Chirico, a previously unpublished essay by de Chirico entitled Zeuxis the Explorer (1918), a brief biography of the artist, and a summary of the Foundation's activity. The works featured here were not included in Claudio Bruni Sakraischik's original multi-volume catalogue raisonné published between 1971 and 1987. Volume 4 includes a separate bibliography and exhibition history for works that appear in this volume only. Text in English and Italian.

"Hebdomeros, originally written in French by Giorgio de Chirico and published in Paris in 1929, was immediately accepted by critics as one of the capital novels of surrealist literature. It should also be said that Hebdomeros is a fundamental document for better understanding the artistic revolution that De Chirico operated in those years with his metaphysical painting. The story does not proceed from event to event, but passes from one image, from one word, from one analogy to another. The singularity of this process lies in its distance from both the dream and the interior monologue, it does not involve the reader, but seduces him with a spectacle of images that smell of hallucination and dreams, of vanishing anguish and frigid rhetorical invention."--Www.goodreads.com

De Chirico (1888-1978) is the father of the Metaphysic, the most relevant cultural movement of the entire XXo century.

Greek-born Italian painter Giorgio De Chirico (1888-1978) was hugely influential in the early years of the Surrealist movement. His paintings during the teens in Paris, where he moved in 1911, caused such a stir that such important figures as Picasso and Paul Eluard immediately praised them. This phase of his work, which he later termed pittura metafisica (metaphysical painting) was marked by dramatic compositions involving sharp perspective, striking shadows, geometrical planes, voids of space, and a general feeling of anxiety and loneliness; the sense of absurdity evoked by the mannequin-like figures in almost nightmarish landscapes seemed to suggest a Freudian expression of the unconscious. After 1930, De Chirico turned to a more classical style of painting and continued in the same vein for the rest of his career; his later work was widely criticized, especially by the Surrealists who had so admired his early paintings.

"The unexpected encounter of a rubber glove, a green ball, and the head from the classical statue gives rise to one of the most compelling paintings in the history of modernist art: Giorgio de Chirico's Song of Love (1914). This uncanny image exemplifies what de Chirico called 'metaphysical' painting, which creates a disturbing sense of unreality, outside the usual logics of space and time, through the novel depiction of ordinary things. Emily Braun's essay explores the work's enigmatic motifs, showing how their roots range from the ancient culture of the Mediterranean, through the commercial scenarios de Chirico observed in the streets of Paris in the years around World War I, to the work of the avant-garde painters and poets of the time. The Song of Love continues to captivate viewers as de Chirico intended, even a century after it was made." - Back cover.

Gathered from early twentieth-century Italian magazines, manuscripts, correspondence, television recordings, and ephemeral art volumes, Geometry of Shadows is the first comprehensive collection of Giorgio de Chirico's Italian poetry, with award-winning poet Stefania Heim's translations presented alongside the Italian originals.

De Chirico and the United Kingdom (c. 1916-1978) constitutes the first in-depth study into de Chirico?s lifelong relationship with the country. Detailing over 60 years? worth of activity through c. 550 documents, this publication establishes the fundamental importance that the UK played in the artist?s career with his work appearing in no less than 85 exhibitions, 49 of which are documented here for the first time. The recent discovery of extensive correspondence, press reviews and other documentation has enabled a thorough examination of three solo exhibitions held in London (Alex. Reid & Lefevre Ltd., 1938, Royal Society of British Artists, 1949, and Wildenstein Gallery, 1976); successful and failed acquisition bids for de Chirico?s artwork in the public sector, as well as the 1962-1964 controversy involving the Tate?s display of three paintings (on long-term loan from Edward James) that the artist denounced as fake.

The self-named metaphysical painting of early 20th-century painter Giogio de Chirico continues to haunt modern art. Paolo Baldacci's long-awaited monograph follows de Chirico and his work from his birth through his student years in Paris to his return to Italy. Baldacci details the development of de Chirico's mature style and reveals the many biographical elements of his paintings. 250 color and 150 b&w illustrations.