Giorgio De Chirico. Il volto della metafisica.
Genova, Palazzo Ducale, March 29 - July 7, 2019.
Edited by Noel-Johnson V.
Milano, 2019; bound, pp. 246, col. ill., cm 24x29.
(Arte Moderna. Cataloghi).
cover price: € n.d.
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Books included in the offer:
Giorgio De Chirico. Il volto della metafisica.
Genova, Palazzo Ducale, March 29 - July 7, 2019.
Edited by Noel-Johnson V.
Milano, 2019; bound, pp. 246, col. ill., cm 24x29.
(Arte Moderna. Cataloghi).
FREE (cover price: € n.d.)
Giorgio de Chirico. Nulla Sine Tragoedia Gloria
Atti del Convegno Internazionale di Studi - Auditorium Dell'Iri, Roma, October 15 - October 16, 1999.
Edited by Claudio Crescentini and Crescentini C.
Co-Editore: Associazione Culturale Shakespeare and Company 2.
Montecatini Terme, 2002; paperback, pp. 504, 188 b/w ill., 21 col. plates, cm 21x30.
(Shakespeare and Company. 2).
FREE (cover price: € 75.00)
Mutazioni. Segni e sogni del XX secolo. Da de Chirico a de Maria
Gavirate, Chiostro di Voltorre, February 23 - April 27, 2003.
Milano, 2003; paperback, pp. 108, ill., tavv., cm 16x22,5.
(Biblioteca d'Arte).
FREE (cover price: € 18.00)
Georges Rouault, Giorgio De Chirico
Mosummano Terme, Villa Renatico Martini, November 23, 2003 - February 15, 2004.
Lyon, La Spirale, October 4 - October 31, 2004.
Edited by Cassinelli P., Giori M. and Viggiano D.
Italian and French Text.
Ospedaletto, 2004; paperback, pp. 150, b/w ill., b/w plates, cm 17x24.
FREE (cover price: € 13.00)
Renata Boero
Carlo Cambi Editore
Ischia, Castello Aragonese di Ischia, July 30 - September 25, 2011.
Edited by Pasquali M.
Italian and English Text.
Poggibonsi, 2011; paperback, pp. 180, b/w and col. ill., cm 21,5x28.
ISBN: 88-6403-099-9 - EAN13: 9788864030999
Subject: Essays (Art or Architecture),Monographs (Painting and Drawing)
Period: 1960- Contemporary Period
Languages:
Weight: 1.08 kg
The underlying structure of her work - what might be described as the grammar of her painting, recognized by all the critics and admirers of her art - is undoubtedly represented by the Cromogrammi (Chromograms), works produced from 1970 onwards and always present in her output. They are, in fact, a pictorial invention that she has neither abandoned nor concluded thanks to the semantic fullness and the countless combinatory potentialities they contain: in other words, they are a cornucopia from which, little by little, the artist judiciously allows flashes of light, echoes, tastes, pearls and perfumes to emerge.
What one is immediately aware of is the synaesthetic quality of these pictures that, still today, many years after they were painted, call to mind earth and nature.










