{"id":104932,"date":"2019-09-11T16:24:52","date_gmt":"2019-09-11T14:24:52","guid":{"rendered":"https:\/\/blog.artsupp.com\/giorgio-de-chirico-et-la-peinture-metaphysique\/"},"modified":"2019-09-11T16:24:52","modified_gmt":"2019-09-11T14:24:52","slug":"giorgio-de-chirico-et-la-peinture-metaphysique","status":"publish","type":"post","link":"https:\/\/blog.artsupp.com\/fr\/giorgio-de-chirico-et-la-peinture-metaphysique\/","title":{"rendered":"Giorgio de Chirico et la peinture m\u00e9taphysique"},"content":{"rendered":"\n

La derni\u00e8re fois, en parlant de l’\u0153uvre Citt\u00e0 ideale<\/strong> <\/a><\/em>conserv\u00e9e \u00e0 la Galleria Nazionale delle Marche<\/a><\/strong>, nous avons abord\u00e9 la question de la perspective<\/strong> renaissante<\/strong>.
L’invention de la perspective<\/strong> a repr\u00e9sent\u00e9 une v\u00e9ritable r\u00e9volution et \u00e0 l’\u00e9poque moderne, de nombreux mouvements artistiques ont repris les enseignements des ma\u00eetres de la Renaissance, en particulier la peinture m\u00e9taphysique.<\/strong> Aujourd’hui, nous allons parler pr\u00e9cis\u00e9ment de Giorgio de Chirico<\/a> et de la peinture m\u00e9taphysique.<\/strong><\/p>\n\n\n\n

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Giorgio de Chirico, Poesia d’estate<\/em>, 1970<\/strong><\/figcaption><\/figure>\n\n\n\n

Nous sommes \u00e0 Paris au d\u00e9but du XXe si\u00e8cle et Giorgio de Chirico<\/strong>, un jeune homme de seulement vingt-trois ans, commence \u00e0 exp\u00e9rimenter une nouvelle technique picturale qu’il appellera plus tard M\u00e9taphysique<\/strong>.
La peinture m\u00e9taphysique<\/strong> na\u00eet simultan\u00e9ment au mouvement futuriste<\/strong>, mais par rapport \u00e0 ce dernier, elle se situe \u00e0 l’oppos\u00e9. L’immobilit\u00e9 de la peinture m\u00e9taphysique s’oppose au dynamisme et \u00e0 la vitesse du Futurisme<\/strong>. Alors que le Futurisme se bat pour un renouvellement total du langage pictural, la M\u00e9taphysique<\/strong> s’en remet aux outils les plus traditionnels de la peinture, en particulier la perspective.<\/strong><\/p>\n\n\n\n

<\/div>\n\n\n\n

L’utilisation de la perspective dans la peinture m\u00e9taphysique<\/strong><\/em><\/h2>\n\n\n\n

<\/p>\n\n\n\n

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Giorgio de Chirico, Pizza d’Italia (Souvenir d’Italie), 1924-1925<\/strong><\/figcaption><\/figure><\/div>\n\n\n\n

La perspective<\/strong> est l’outil pour repr\u00e9senter une vision tridimensionnelle dans une image bidimensionnelle : de Chirico<\/strong>, tout en exp\u00e9rimentant diff\u00e9rentes solutions spatiales, a toujours consid\u00e9r\u00e9 cette science comme un des piliers de l’\u0153uvre m\u00e9taphysique,<\/strong> \u00e9l\u00e9ment indispensable \u00e0 la repr\u00e9sentation architecturale.<\/p>\n\n\n\n

Dans la peinture de de Chirico<\/strong>, la perspective<\/strong> est presque toujours d\u00e9lib\u00e9r\u00e9ment d\u00e9form\u00e9e et les sc\u00e8nes urbaines, protagonistes incontest\u00e9es de ses tableaux, ont un aspect dilat\u00e9 et vide. Tout semble fig\u00e9 et le silence absolu ainsi que l’absence de tout \u00e9v\u00e9nement provoquent une atmosph\u00e8re charg\u00e9e de nostalgie ou de m\u00e9lancolie.<\/p>\n\n\n\n

L’\u00e9nigme de la peinture m\u00e9taphysique<\/strong><\/h2>\n\n\n\n

La torre rossa<\/a>,<\/strong> r\u00e9alis\u00e9e en 1913 et conserv\u00e9e au Guggenheim de Venise<\/a><\/strong>, fait partie des c\u00e9l\u00e8bres repr\u00e9sentations des Piazze d\u2019Italia<\/strong><\/em>. C’est dans la s\u00e9rie Piazze d’Italia<\/em> que se retrouvent les th\u00e8mes typiques de la peinture de de Chirico : l’infini<\/strong>, la solitude<\/strong>, les places d\u00e9sertes<\/strong>, l’\u00e9nigme<\/strong> et le myst\u00e8re<\/strong>.<\/p>\n\n\n\n

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Giorgio de Chirico, La torre rossa,<\/em> 1913<\/figcaption><\/figure><\/div>\n\n\n\n

Dans l’\u0153uvre La torre rossa<\/strong>,<\/em> l’espace au premier plan est \u00e9troitement encadr\u00e9 par les perspectives de deux portiques et dirige le regard vers une tour qui rappelle les c\u00e9l\u00e8bres monuments fun\u00e9raires romains. Du portique de droite \u00e9merge un monument \u00e9questre, identifi\u00e9 avec celui de Carlo Alberto \u00e0 Turin. Les r\u00e9f\u00e9rences habilement dissimul\u00e9es et les citations \u00e0 peine esquiss\u00e9es rendent impossible l’identification du lieu repr\u00e9sent\u00e9.<\/p>\n\n\n\n

Les places italiennes<\/strong> entour\u00e9es de portiques<\/strong> et de fa\u00e7ades<\/strong> classiques<\/strong> sont transform\u00e9es en sc\u00e9narios vides et silencieux<\/strong>. C’est pr\u00e9cis\u00e9ment cet usage irrationnel de la perspective qui conf\u00e8re aux \u0153uvres de de Chirico une atmosph\u00e8re onirique caract\u00e9ris\u00e9e par l’absence d’une source unique de lumi\u00e8re, par l’allongement des ombres et par l’absence totale de vie.<\/p>\n\n\n\n

<\/div>\n\n\n\n

D\u00e9couvrez de Chirico et dans quelles expositions et mus\u00e9es admirer ses \u0153uvres ! Cliquez ici !<\/strong><\/h2>\n\n\n\n
\n
Aller \u00e0 l’artiste<\/a><\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n

L’h\u00e9ritage de de Chirico et la peinture m\u00e9taphysique<\/strong><\/h2>\n\n\n\n

La peinture m\u00e9taphysique<\/strong> a \u00e9t\u00e9 l’un des courants artistiques les plus importants de l’histoire de l’art moderne<\/strong>. \u00c0 travers un v\u00e9ritable processus de construction g\u00e9om\u00e9trique, elle a transform\u00e9 le quotidien en nouvelles visions. Les objets \u00e9taient assembl\u00e9s et d\u00e9contextualis\u00e9s, immerg\u00e9s dans des atmosph\u00e8res et des visions mentales impr\u00e9visibles qui d\u00e9passent la r\u00e9alit\u00e9 et montrent une nouvelle dimension du r\u00e9el.<\/p>\n\n\n\n

Giorgio de Chirico et la peinture m\u00e9taphysique n’ont pas seulement \u00e9t\u00e9 d\u00e9cisifs pour la naissance du Surr\u00e9alisme<\/strong>, mais ont \u00e9galement influenc\u00e9 des g\u00e9n\u00e9rations d’artistes qui, en particulier \u00e0 partir des ann\u00e9es soixante, se sont inspir\u00e9s de l’\u0153uvre du peintre de Volos.<\/p>\n\n\n\n

C’est pr\u00e9cis\u00e9ment le th\u00e8me de l’exposition \u201cGiorgio de Chirico. Retour vers le Futur, N\u00e9om\u00e9taphysique et Art Contemporain\u201d<\/strong><\/a>, qui vient de se terminer \u00e0 la GAM de Turin<\/a>.<\/strong><\/p>\n\n\n\n

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Francesco Vezzoli, Portrait de Sofia Loren en tant que Muse de l’Antiquit\u00e9 (Apr\u00e8s Giorgio de Chirico)<\/em>, 2012<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Si vous vous \u00eates passionn\u00e9s pour les sc\u00e9narios dystopiques des vues m\u00e9taphysiques de de Chirico<\/strong>, sur Artsupp<\/a> <\/strong>vous retrouverez \u00e9galement les \u0153uvres de l’exposition \u201cGiorgio de Chirico. Le visage de la M\u00e9taphysique\u201d<\/a><\/strong> qui a occup\u00e9 les espaces du Palazzo Ducale de G\u00eanes<\/a> jusqu’au 1er septembre!<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

La derni\u00e8re fois, en parlant de l’\u0153uvre Citt\u00e0 ideale conserv\u00e9e \u00e0 la Galleria Nazionale delle Marche, nous avons abord\u00e9 la question de la perspective renaissante.L’invention de la perspective a repr\u00e9sent\u00e9 une v\u00e9ritable r\u00e9volution et \u00e0 l’\u00e9poque moderne, de nombreux mouvements artistiques ont repris les enseignements des ma\u00eetres de la Renaissance, en particulier la peinture m\u00e9taphysique. …<\/p>\n<\/div><\/div>","protected":false},"author":12,"featured_media":380,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1287],"tags":[2083,2043,2044,2045],"class_list":["post-104932","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artsupp-vous-raconte-histoire-de-lart-et-artistes-fr","tag-collection-peggy-guggenheim-fr","tag-giorgio-de-chirico-fr","tag-metaphysique-fr","tag-peinture-metaphysique-fr"],"acf":[],"yoast_head":"\nGiorgio de Chirico et la peinture m\u00e9taphysique - Artsupp<\/title>\n<meta name=\"description\" content=\"Les artistes m\u00e9taphysiques jouent beaucoup avec la perspective. 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