Giorgio de Chirico: Quotes about reason

“.. can you [contemporary painters] ever get close, even vaguely, to the solidity, the transparency, the lyric strength of colour, to the clarity, the mystery, the emotion of any of the paintings of Fra Angelico, Piero della Francesca, Botticelli, Dürer, Holbein or of young Raphael? Friends, have you ever realized that with the oil colours used today this is absolutely impossible?... In the museums of Europe I have observed the work of the Flemish painters at length – those earlier, later as well as contemporary to the [brothers] Van Eycks – and I am convinced that the above mentioned brothers were not the discoverers of oil paint in its true sense, as is held today, but that what they did was introduce oil in emulsion with other substances, especially live and fossil resins, into so-called oil tempera emulsion, which was already known in the Flanders, to enable them through the use of veiling to give a greater finish, cleanliness and strength of colour to their painting.
'These oils which are their tempera' said Vasari, speaking of the Flemish [painters] in his Life of Antonello; and without doubt he was alluding to Flemish oil tempera emulsion, but it is sure, absolutely sure, that.... we are dealing with.... a tempera based mixture (egg, glue, resin, tempera etc) in which oil was only used as a means of unity and for the finish of the painting.”

Giorgio de Chirico

Quote from De Chirico's text 'Pro tempera oratio', c. 1920; from 'PRO TEMPERA ORATIO' http://www.fondazionedechirico.org/wp-content/uploads/475-480Metafisica5_6.pdf, p. 475
1920s and later

Life , Sense , Painting

“It is most important that we should rid art of all that it has contained of ‘recognizable material’ to date, all familiar subject matter, all traditional ideas, all popular symbols must be banished forthwith. More important still, we must hold enormous faith in ourselves; it is essential that the revelation we receive, the conception of an image which embraces a certain thing, which has no sense in itself, which has no subject, which means ‘absolutely nothing’ from the logical point of view.... should speak so strongly in us, evoke such agony or joy, that we feel compelled to paint.”

Giorgio de Chirico

as quoted in Letters of the great artists – from Ghiberti to Gainsborough, Richard Friedenthal, Thames and Hudson, London, 1963, p . 232
1908 - 1920, On Mystery and Creation, Paris 1913

Faith , Art , Feeling , Idea

“To become truly immortal a work of art must escape all human limits: logic and common sense will only interfere. But once these barriers are broken it will enter the regions of childhood vision and dream.”

Giorgio de Chirico

as quoted in Letters of the great artists – from Ghiberti to Gainsborough, Richard Friedenthal, Thames and Hudson, London, 1963, p . 231
1908 - 1920, On Mystery and Creation, Paris 1913

Dreams , Art , Sense , Childhood

“What I have created here in Italy is neither very big nor profound (in the old sense of the word), but formidable. This summer I painted paintings that are the most profound that exist in the absolute. Let me explain these things somewhat…. profoundness as I understand it, and as Nietzsche intended it, is elsewhere than where it has been searched for until now. – My paintings are small (the biggest is 50 x 70 cm), but each of them is an enigma, each contains a poem, an atmosphere (Stimmung) and a promise that you can not find in other paintings. It brings me immense joy to have painted them – when I exhibit them, possibly in Munich this spring, it will be a revelation for the whole world”

Giorgio de Chirico

Quote from De Chirico's letter to Mr. Fritz Gartz, Florence, 26 Jan. 1910; from LETTERS BY GIORGIO DE CHIRICO, GEMMA DE CHIRICO AND ALBERTO DE CHIRICO TO FRITZ GARTZ, MILAN-FLORENCE, 1908-1911 http://www.fondazionedechirico.org/wp-content/uploads/559-567Metafisica7_8.pdf, p. 562
1908 - 1920

World , Search , Spring , Understanding

“Among the many senses that modern painters have lost, we must number the sense of architecture. The edifice accompanying the human figure, whether alone or in a group, whether in a scene from life or in an historical drama, was a great concern of the ancients. They applied themselves to it with loving and severe spirit, studying and perfecting the laws of perspective. A landscape enclosed in the arch of a portico or in the square or rectangle of a window acquires a greater metaphysical value, because it is solidified and isolated from the surrounding space. Architecture completes nature.”

Giorgio de Chirico

1920
as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 440-441
1908 - 1920, On Mystery and Creation, Paris 1913

Love , Life , Law , Nature

“What I have created here in Italy is neither very big nor profound (in the old sense of the word), but formidable. This summer I painted paintings that are the most profound that exist in the absolute. Let me explain these things somewhat.... profoundness as I understand it, and as Nietzsche intended it, is elsewhere than where it has been searched for until now.”

Giorgio de Chirico

My paintings are small (the biggest is 50 x 70 cm), but each of them is an enigma, each contains a poem, an atmosphere (Stimmung) and a promise that you can not find in other paintings. It brings me immense joy to have painted them – when I exhibit them, possibly in Munich this spring, it will be a revelation for the whole world
Quote from De Chirico's letter to Mr. Fritz Gartz, Florence, 26 Jan. 1910; from LETTERS BY GIORGIO DE CHIRICO, GEMMA DE CHIRICO AND ALBERTO DE CHIRICO TO FRITZ GARTZ, MILAN-FLORENCE, 1908-1911 http://www.fondazionedechirico.org/wp-content/uploads/559-567Metafisica7_8.pdf, p. 562
1908 - 1920

Painting , Understanding , Search , Sense