Giorgio de Chirico
Forbidden Toys
Artist
Giorgio de Chirico
(1888, Volos - 1978, Roma), Italian
Original Title
Forbidden Toys
Date1916
Mediumoil on canvas
Dimensions 55,4 × 25,9 cm
Classificationspaintings
Credit LineKunsthalle Praha
DescriptionGiorgio de Chirico was an influential figure in the evolution of modern art. His mysterious canvases haunted by the spirit of Italian antiquity had a particularly significant impact on surrealist art and later on the Italian transavantgarde. Apart from painting, he also worked on designing theatre sets and costumes, as well as writing theoretical and critical essays, philosophical texts, poems, and prose. His paintings are marked by their mysterious atmosphere, with De Chirico aiming to portray an environment which would mirror nature and lived reality. Influenced by philosophical topics, his work draws on the study of antiquity and the works of the Old Masters, as well as the German existentialist philosophies of Friedreich Nietzsche and Arthur Schopenhauer. In 1910, De Chirico’s style began to develop clear characteristics rooted in an effort to combine powerful, mysterious feelings with the melancholy of picturesque autumn afternoons in Italian cities. His metaphysical canvases, painted between 1910 and 1917, are generally regarded as the pinnacle of his oeuvre and one of the important artistic styles anticipating surrealism. The most prominent subjects of De Chirico’s work were old, abandoned town squares with traces of dilapidation, illuminated by an unnatural light and imbued with a mysterious, dream-like atmosphere; other common motifs included still lifes and strange, mechanical mannequins. In the mid-1920s, his work veered away from surrealism and took on a more classical style influenced by neoclassicism. However, his canvases still maintained strong links to old art, expressed by quotations of works by the Old Masters. During this period, De Chirico also developed an interest in Mediterranean mythology and in the metaphysics of light. From the late 1930s onward, his figurative canvases evolved into a distinctly neo-baroque style. His final artistic period, between 1968 and 1978, is commonly referred to as neo-metaphysical and was focused on new interpretations of older works. Compared to his early paintings, these canvases are defined by brighter colors, more intricate compositions, and a calm atmosphere.
Forbidden Toys (1916) is an austere painting representative of De Chirico’s early metaphysical interiors. The markedly vertical composition comprises simple, differently colored geometric shapes, boards, and a small stack of colored boxes in the foreground. The arrangement of these features creates a strangely intimate, enclosed space which emanates a feeling of secrecy and magic. At the center of the composition is a strange, flat, black structure in the shape of a “V”, adorned with delicate white pattern, parts of which disappear behind the objects in the foreground. This mysterious feature cannot be conclusively identified as any specific object. In De Chirico’s work, these types of geometric formations are generally part of a secret geometric system with links to other paintings. This work finds its counterpart in the painting Playthings of the Prince (1915; MoMA, New York City), which is dominated by a Native American-style teepee against a backdrop of an Italian piazzetta. Recent research has revealed that De Chirico incorporated his findings related to heavenly geometry and the structure of the universe into both of these canvases. The shape of the two books on the left side of Forbidden Toys casts a shadow onto the background of Playthings of the Prince. The paintings are therefore connected by a geometric structure, containing traces of each other. An intuitive visual inspection of the paintings also points to their mutual interconnectedness, complementing each other via opposing elements.
This system of opposition refers to De Chirico’s favorite Greek philosopher Heraclitus. Born into an aristocratic family, Heraclitus’s philosophy revolved around the concepts of unity and complementary opposites, with the tension between opposites forming the hidden harmony of things. De Chirico painted both of these paintings while staying in Ferrara during the winter of 1915–1916, and subsequently sent both works to Parisian gallerist Paul Guillaum. In 1922, the paintings were displayed together for the first time (and thus far also the last) at Guillaum’s gallery, where they were introduced by André Breton. The history of Forbidden Toys is closely linked to the Czech environment: in 1931, the painting was included in De Chirico’s solo exhibition at the Aleš Exhibition Hall, located in the building Umělecká beseda artists’ forum in Prague. The work was purchased by a Czech private collector and later found its way into the collection of the National Gallery in Prague.
Giorgio de Chirico (1888, Volos – 1978, Rome) was born in Greece to a family of Italian heritage. He studied painting at the Academy of Fine Arts in Munich from 1906 to 1909, under Arnolda Böcklin a Maxe Klinger, which shaped the romantic-symbolist nature of his early work. In Munich, he also became acquainted with the philosophy of Friedrich Nietzsche, Arthur Schoppenhauer, and Otto Weininger. Between 1909 and 1910, De Chirico spent an extended period of time in Italy, where he absorbed influences which shaped his metaphysical period. From 1911 to 1915, he lived in Paris; in 1912, he exhibited at the Salon d'Automne for the first time, and the following year at the Salon des Indépendants. In 1915, following the outbreak of World War I, De Chirico returned to Italy and enlisted in the army. He spent the war in Ferrara, where he began painting metaphysical interiors. In 1917, De Chirico met the Dadaists affiliated with Tristan Tzara and the magazine Dada 2. In 1918, he became one of the founding members of the of the artistic movement Valori plastici in Rome. His first solo exhibition took place at the Casa d’Arte Bragaglia in Rome. Even throughout his stay in Italy during World War I, he maintained contacts with the Parisian art scene. In 1921, he began exchanging letters with André Breton, who subsequently introduced his momentous solo exhibition at the Parisian Galerie Paul Guillaume in the following year. In 1925, De Chirico definitively split from the surrealist movement. During the same year, he permanently settled in Paris and also began to gain international acclaim for his work. He took part in the 14th Venice Biennale and later exhibited at its 18th edition, at a gallery dedicated to Italian artists in Paris. Between 1936 and 1938, De Chirico lived in New York City. He exhibited his contemporary work at the Julien Levy Gallery in 1936. After spending World War II away from Italy, he permanently settled in Rome in 1947. In 1970, he had an important retrospective exhibition at the Palazzo Reale in Milan, which was organized in the context of a renewed interest in his work. During this time, De Chirico also developed his later, more classical and neo-baroque-style work based on quotations of the Old Masters, which had gained a new relevancy in the context of postmodernity. Today, De Chirico’s work is included in the collections of institutions such as the Museum of Modern Art in New York City, the Galleria Nazionale d´Arte Moderna e Contemporanea in Rome, the Kunstmuseum Bern, the Musée d´art moderne de la Ville de Paris, the Musée National d´Art Moderne – Centre Pompidou in Paris, the Tate Modern in London, the Osaka City Museum of Modern Art, and the Peggy Guggenheim Collection in Venice. De Chirico’s artistic legacy is managed by the Fondazione Giorgio e Isa de Chirico in Rome. In the Czech context, his influence is most evident in the work of the younger Czech surrealists. In particular, he maintained friendly ties with Czech painter Jan Zrzaý. De Chirico had two solo exhibitions in Prague, taking place in 1931 and 1935; in the early 1930s, his work also featured in large-scale exhibitions presenting contemporary French art—L´Ecole de Paris, Municipal House, Prague, 1931; Poesie 1932, Mánes Exhibition Hall, Prague—signaling the Czech art scene’s turn toward surrealism.
Forbidden Toys (1916) is an austere painting representative of De Chirico’s early metaphysical interiors. The markedly vertical composition comprises simple, differently colored geometric shapes, boards, and a small stack of colored boxes in the foreground. The arrangement of these features creates a strangely intimate, enclosed space which emanates a feeling of secrecy and magic. At the center of the composition is a strange, flat, black structure in the shape of a “V”, adorned with delicate white pattern, parts of which disappear behind the objects in the foreground. This mysterious feature cannot be conclusively identified as any specific object. In De Chirico’s work, these types of geometric formations are generally part of a secret geometric system with links to other paintings. This work finds its counterpart in the painting Playthings of the Prince (1915; MoMA, New York City), which is dominated by a Native American-style teepee against a backdrop of an Italian piazzetta. Recent research has revealed that De Chirico incorporated his findings related to heavenly geometry and the structure of the universe into both of these canvases. The shape of the two books on the left side of Forbidden Toys casts a shadow onto the background of Playthings of the Prince. The paintings are therefore connected by a geometric structure, containing traces of each other. An intuitive visual inspection of the paintings also points to their mutual interconnectedness, complementing each other via opposing elements.
This system of opposition refers to De Chirico’s favorite Greek philosopher Heraclitus. Born into an aristocratic family, Heraclitus’s philosophy revolved around the concepts of unity and complementary opposites, with the tension between opposites forming the hidden harmony of things. De Chirico painted both of these paintings while staying in Ferrara during the winter of 1915–1916, and subsequently sent both works to Parisian gallerist Paul Guillaum. In 1922, the paintings were displayed together for the first time (and thus far also the last) at Guillaum’s gallery, where they were introduced by André Breton. The history of Forbidden Toys is closely linked to the Czech environment: in 1931, the painting was included in De Chirico’s solo exhibition at the Aleš Exhibition Hall, located in the building Umělecká beseda artists’ forum in Prague. The work was purchased by a Czech private collector and later found its way into the collection of the National Gallery in Prague.
Giorgio de Chirico (1888, Volos – 1978, Rome) was born in Greece to a family of Italian heritage. He studied painting at the Academy of Fine Arts in Munich from 1906 to 1909, under Arnolda Böcklin a Maxe Klinger, which shaped the romantic-symbolist nature of his early work. In Munich, he also became acquainted with the philosophy of Friedrich Nietzsche, Arthur Schoppenhauer, and Otto Weininger. Between 1909 and 1910, De Chirico spent an extended period of time in Italy, where he absorbed influences which shaped his metaphysical period. From 1911 to 1915, he lived in Paris; in 1912, he exhibited at the Salon d'Automne for the first time, and the following year at the Salon des Indépendants. In 1915, following the outbreak of World War I, De Chirico returned to Italy and enlisted in the army. He spent the war in Ferrara, where he began painting metaphysical interiors. In 1917, De Chirico met the Dadaists affiliated with Tristan Tzara and the magazine Dada 2. In 1918, he became one of the founding members of the of the artistic movement Valori plastici in Rome. His first solo exhibition took place at the Casa d’Arte Bragaglia in Rome. Even throughout his stay in Italy during World War I, he maintained contacts with the Parisian art scene. In 1921, he began exchanging letters with André Breton, who subsequently introduced his momentous solo exhibition at the Parisian Galerie Paul Guillaume in the following year. In 1925, De Chirico definitively split from the surrealist movement. During the same year, he permanently settled in Paris and also began to gain international acclaim for his work. He took part in the 14th Venice Biennale and later exhibited at its 18th edition, at a gallery dedicated to Italian artists in Paris. Between 1936 and 1938, De Chirico lived in New York City. He exhibited his contemporary work at the Julien Levy Gallery in 1936. After spending World War II away from Italy, he permanently settled in Rome in 1947. In 1970, he had an important retrospective exhibition at the Palazzo Reale in Milan, which was organized in the context of a renewed interest in his work. During this time, De Chirico also developed his later, more classical and neo-baroque-style work based on quotations of the Old Masters, which had gained a new relevancy in the context of postmodernity. Today, De Chirico’s work is included in the collections of institutions such as the Museum of Modern Art in New York City, the Galleria Nazionale d´Arte Moderna e Contemporanea in Rome, the Kunstmuseum Bern, the Musée d´art moderne de la Ville de Paris, the Musée National d´Art Moderne – Centre Pompidou in Paris, the Tate Modern in London, the Osaka City Museum of Modern Art, and the Peggy Guggenheim Collection in Venice. De Chirico’s artistic legacy is managed by the Fondazione Giorgio e Isa de Chirico in Rome. In the Czech context, his influence is most evident in the work of the younger Czech surrealists. In particular, he maintained friendly ties with Czech painter Jan Zrzaý. De Chirico had two solo exhibitions in Prague, taking place in 1931 and 1935; in the early 1930s, his work also featured in large-scale exhibitions presenting contemporary French art—L´Ecole de Paris, Municipal House, Prague, 1931; Poesie 1932, Mánes Exhibition Hall, Prague—signaling the Czech art scene’s turn toward surrealism.
