Martin on de Chirico and Pm

8/19/2019 Martin on de Chirico and Pm

1/13

Taylor & Francis, Ltd. and College Art Association are collaborating with JSTOR to digitize, preserve and extend access to The

Art Bulletin.

http://www.jstor.org

Reflections on De Chirico and Arte MetafisicaAuthor(s): Marianne W. MartinSource: The Art Bulletin, Vol. 60, No. 2 (Jun., 1978), pp. 342-353Published by: College Art AssociationStable URL: http://www.jstor.org/stable/3049787Accessed: 05-03-2016 20:27 UTC

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of contentin a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.For more information about JSTOR, please contact [email protected].

This content downloaded from 193.108.160.146 on Sat, 05 Mar 2016 20:27:35 UTCAll use subject to JSTOR Terms and Conditions

http://www.jstor.org/http://www.jstor.org/publisher/caahttp://www.jstor.org/stable/3049787http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/stable/3049787http://www.jstor.org/publisher/caahttp://www.jstor.org/


2/13

R A M

M WM

m

w w

w w w m

m A

m m w m

w

R w m G m

m

m m

m

m w A M A

J w

M m

m

m m w w w

m

Mm m

N m

w

m M

M M

m m

m m m w

m w

m H m M

w

G

A w m m

m

m

M w m

M

G

w mm

V G

A m

m m

m

w m w J

w m

m

m

G

m m

M R w m A

w

A

w

W m m

m

m w m

m m w

m

m m m

m

w m

m m m

m

w m w

M R

m m

R m m m

A w A M

A A Am

M M M J G

w

R M

2 "Gorg o de Chr co and ta y," Art Quartery, sprng 1958, 3-22 A

m w

w m m

V M J H N w

W R w m w A m

M m mm

w m m

m H J G

M m m M

M m G A

A

G

XX

m m w m m

m m

G M

MM A

A M R

w

6T ran s atedandpubsh ed nJ T SobyG orgodeChrc o N ewYork1955


http://www.jstor.org/page/info/about/policies/terms.jsphttp://www.jstor.org/page/info/about/policies/terms.jsp


3/13

R N N H R A N AR M A A

w w

m

m R w w

w

w

m w w m

m w m w w

W m m

m

m w

G w m

w G m w

m m w

R m m

m w

R m w A

R w w m

wV

M m

M w R

m M w

m

M A

m m m m

w

w G w

M m W

m m w m

A W

G m w M

M w

m m

m mm

m A

A m

m w m

w w w

m m

w M m m

w w

mw m

m

mm m

A m

w m M

w w

m w m

m w

m w w m

m m w A

G m A

m w

w

m m

m m

m m

m

m m

m m

m m m

N A G

H w

H m m m

M M R N w

8 Soby, 245

G N w G

M w

H K K w

w V W m M

G G

N N

" " LAr t ed e a s c ena E G o rd o nCra g " Vt a d a r t e 3 1 9 08 1 8 3- 8 6

M w M

K A R w G A

G G G

m w w

12 Montjoie I, 7, May 16, 1913, 1-2; this included Craigs article "Vers un

1 3 Se e eg WRub n " Towa rd a Cr t c a Fr amewo rk " 4 1 So b y 3 2

14 De Chirico, Memorie, 64; see also 86.

A p o n r e C h ro n qu e P r 1 96 0 3 8 2 84 A n e cd ot q ue P r 1 95 5

16 Les Soirees de Paris, No. 24, May 15, 1914, 244, 245-46; No. 25, June 15,

N J A A

M m A m

N M

18 Craig always acknowledged his debt to Sebastiano Serlio and even

m

G G

N M

m

G m H N

m m m

R

Am m

N w w w

w w

V m

m H




4/13

H AR U N

1 A r n G o do n F o r n f ro m Th M k J u y 19 09 2 C r g m od f or H m 1 91 1 Lo nd on V o r n d A b r M u u m

M m

2b Crag mode set for Hamet ca 1911 London V ctora and 3 De Chrco The Anxous Journey 1913 New York Museum of

A br M u um ph Mu u m Md rn Ar L P B B u ph Mu u m

G M

w M m M A

G w M m

m m m m m w

A J m

m m m

m m m

w w w

m m

m

m

w A w m

m m m

20 See below p. 346. De Chirico has spoken of the importance of "giv[ing]

h mp n h m h ng nw mu h pp n md h

m

M M A

Nw

21 Craig recalled in 1911 that the sign over the stage door of the Miinchner

K m

m A N w

22 "Sur le silence," Minotaure, No. 5, May 1934, 32.




5/13

N N H R AN AR M A A

5D eChrc o TheUnc ertan tyof thePoet1913LondonS rRoand

w

D C h r o T h S qu r

w w

m

m

V w

unk nw n m M n

Futurst Art and Theory, p

They are simplified forms, clad in togas, and, w ith few

exceptons, they are momentar y arrested and memorabe ke

statues Craigs "Black Figures," as he later called them, are the

initial step toward the ideal actor, the Ober-marionette, with

which he, quoting Napoleon, aimed to embody the generals

famous concept of the hero, "a beng ke a statue n wh ch the

w m

De Chirico similarly sub ugates the human form to his own

creatve w , unt, as n The Grand Metaphyscan of 1917 F g

4 , it becomes, like Craigs Ober-marionette, an integral part of

thetota artstc constructButmoreofth s ater

Such a super-puppet concept of "creat ve man" comes very

close to Heinrich von Kleists notion of the artist as a divine

puppet, as explained in his essay of 1810, "Ober das

Marionettentheater"24 The Romantic writer conceived of the

true artist as a puppet-like dancer who transcends the limits of

his conscious mind and his ego and achieves harmonious

identity with God Kleist s ideas had re-entered German

artst c conscousness wth the Symbost movement, and may

very we have been known to the hgh y terate De Chr co

and Craig It is significant that Oskar Schlemmer in evolving

his Triadic Ballet during 1916-1922 drew not only upon Kleist

butupon th eartofCragandD eChrc oa swe

Specuat ons such as these ead one to wonder further

whether De Chr co dd not conceve of hs archtectonc

M w N w

ofNesonA Rockefeer photo CharesUht

scenes as distant metaphoric descendants in the complex

neageofthe theatrummund DeChr conducesthe

k C n n n h

h ypo the t c pe rmbut o n n o r der th t r e ch e t o w r d

unversatruth25 Thenotonofthetheaterasacosmcm rror

hadagan beentakenupbyseverawr tersattheendofthe

nneteenth century eg Schure Maeter nck Hofmanns-

tha after havng been prefaced by the redscovery of

Cader6ns"word-theatrca" dramasHofmannsthasDas

kleine Welttheater was published in 1897-98. It is a plotless,

rhymed puppet pay nsp red by Cader6n and nformed by a

strong Heraclitan point of view26 The play s hero, the

madman desperateyseekstofathomwhats beneaththe

m ny w rpp ng S h n o o d n f yw h h

essential: "I in the whirlpools midst/Tear all along with me, yet

a reman s/A hoversyet a sh overt mayandmust"27

23 "The Actor and the Ober-marionette," The Mask, April 1908, 10. Craig

ctesPaterasthesourceforthsreputedstatementbyNapoeon

24 Siamtliche Werke, Leipzig, 1910, v, 215-226.

25 See R. Bernheimer, "Theatrum Mundi," Art Bulletin, xxxviII, 4, 1956,

m

26 E. Schwarz, Hofmannsthal und Calder6n, Cambridge, Mass., 1962, 1 4; J.

So f r D W h r H ug o vo n Ho fm n n h u nd h r V or u u ng n b

Herak tundC ader6nV enna 1934 5-613

27 Poems and Verse Plays, London, 1961, 263; see also 253; "Mit trunknen

G e d er n c h m W r be m t t en / Re e h n t er m r d o ch e

bleibt/Und alles schwebt, so wie es muss und darf/Hinab, hinein, es

m




6/13

H AR U N

U m

m m

M A m m

Hw w

w G

w w w

Hm A

w K

w

m

m w w

M A

m m

w

w m m

A

mJ

m M

w m

M A m w m

w w

m M

m w

M m

m V m

m m

m m

U

m

W m w w

w m m w

m H w m

m G w

H w m

m

m m

m w

w m

w m

w m

m w

A J

w m

w

w

m V A J

w w w

w m

m

w m w m m

A

m

m

m m m m A

J w

m

m m m

w w

w m

m m

m

w w

m

m m A

J m w w

w m w

w m m

m m

m w

m

w w

w

w

m w m m

w m

m w

m m m

w

m m

28 M CarrY, 90 134

29 The ceebrated Forent ne skrm sh between the Futursts and Soffc and

J m m

w A M

m M

30 Conversation with the artist, June 26, 1974

31 M Carra, 88

32 The knsh p between Crag and the Futursts s obvous, and t s very

M w m w w M

A m

MK

m Nw

M

M




7/13


w U

w w R m m m

m m

w m m

mm

m m

m w m

m w

w m

m

m w w

m m m

m m w

m m w w H m

w m w

m

m w

w

L u g n y u d vn y B ynd y u

w W m

w w

m w m

m

w m w

m

m G K

h m n y y k

m m m

w w m

V m

m k m G n m y n

m mm G

w w

m

w

M A

m

w H m m w

k B n h h y

9 DeChr co TheEv G enus of a K ng 1 9 1 4- 15 N ewYork

M m M A M m

D Ch Th h y R m n h h

Ph d p h Mu um A L u nd W A n b g

AJ W

35 H Bergson, An Introduction to Metaphysics, London, 1913, 85 This little

b k w d yr d n d dm rd v r n pub n n 1903 h d

on d rb ff p y on Bo o n B P r Bo o n nd

B r g n B ur n g n M g n C XV 8 52 1 9 75 1 4 0 47 n d h r h v

n d u G Pp n n d L v p p d n n d n n

1909 J G d ng B n Un u F r m f C n nu y n p N w

up n Tyn 1972 7 M r n 8 9 n 3 hu m x r m y k y h

D C h r o w f m r w h h nd o h r wr n g by B rg on n d h

on of h v rb mu f or h n m Ar M f m from h

F rn h ph o o ph r D C h r o k no w dg on y h d b o N h

hp nh u nd W nng Th Au n h nk w n p y

pr v v fr gm n d M phy k p ub h d n Ub rd n

D ng V n n 1 912 1 39 f S vn o m por n L D r m mu q u

L So r d P r 23 A pr 1 5 1914 2 40 44 p p r o b h f r

mm w w M A H

m m

m

36 Soby, 245 Milan, De Chirico, 63

38 M CarrY, 91

M

40 See, e.g., CarrY, Ritmi di oggetti (1912), Boccioni, Sviluppo di una bottiglia

m M

U B n M n n y




8/13

H AR U N

n h h n n

n n y h h

nd f f h n ur m r u D C hr w rd Th

m

m

mp h p n h b wh h d ng D

mm

v n d b h b h n m d nm gu wh

b r h m phy n o my of h d rm of h

Th p g v d p n n m n und nD

C h h m n h n

y f h d hum n nd n n hum n h nf rm h

m ur h Th r w f u r w rk ng n rd

h w d p r d Eu r p n n dn y wh h C r g n d h

Fu u h d w d w nd d h v u

Fu u m n p p b n D Ch M d

n P n Wh h P n ng h Fu u M gh B

m m m

1 915 On f h m f fu ur p n n g w r d w b

m m m

m

m m

n m n n y h n h h N h n

m A m

u Th wh y d m n n my p u

W w m

m n m k n m m n m n h

m n n n y h n

h nh n N h n h h m n y

m w

w m H

m m M

1 89 3 45 B y r pr n n g u p ur h r ug h h m d u m f

m

h h B n n

A m y y n

h mm h n n pb v u n w v n

n A h m m D Ch n n

u n u p u v m h p p u nd

1 1 D C hr o T h A r o no m r L n qu u d d m 1 91 5

w w m

42 M Carri, 89

A m V N

M

m m m

W

M W m

m m m

m w w

m M A

m w

m

m m w w

m V

w m

N m

W m

m w m

M

H G m

A M

m N w m

46"L areathdorata "L avoc e F eb29 1916 77

R N w M m M A

M m G m M m




9/13


H m m

w

A

m m

m

R m w

m m m m

m R

w w w

R m H m

w m

m m

N H m A

N m w m

A

m

w w

w G m w w

m w m w

m

A U

H m m

m

m

m

m m A

M w

M M

m

m m

m

m w

m

m

m mm

w m m

m w

m m A J

m

R M A

D C h r o n ur y r p h po n n h o wn w y 5

mm m m m

m m

m m w

m

m m w

mm m

w

m R

m M m

w w

w M

A m

m m

mm m

m A m m m m

m m

m m

m

m m w

m m

w w m

m m m

m A m

m w

m w m

R R m

m

H A

m R w M A

m A

m m

48 Groves Dictionary of Music and Musicians, New York, 1948, v, 166, 167;

R m m N w

m w w m m

49SeeW Kaufmann NetzscheNewYork 196832-34

R Um G

M J

m A m

w w

H w m

m m

m M

52 E.g., Carrk, Velocita scompone il cavallo (1912); Boccioni, Elasticita (1912).

R m w M

G G G

G M W

m w

w G M m

R V m A H w G

N w w

w J A

m m

w D Ch m n B n A

m

M m J m

m m

h m y n n D Ch w k

m m W m w

m w

m W M




10/13

H AR U N

13 D C hr Th D u 1 915 F rm ng n C n n n n h

Jm m

1 4 D eCh r c o T h e S e e r 1 9 1 5 Frmngt o nC o nn c o e c t o nn th e

h n J m h y h n m

M

M M

R m

A

R

A m m w w

m w w w

w w w

w

m w w m

m m

w w m

m w w w

m

m

H m m m

mM




11/13


M

w w

w

M

w w m

A

M N A M

H

A m m W

m w

m

m m

W m

m

A w W

m

G w m A

w w m

m m

m m

m w m

m

m m m w m w

w

A

m mm

w

m

m m m

m

w

m m m

m

m H w

m

m

m m m

m H m m m

m mw

A m

w mm w

m

m w w

m m

w m w w w

m m

m m

A H

m w m

m m

m

M

w m m

m m m

m m m m

m mM

m

m m m

m

M

W

56 M Carri, 95

M W w

w m m m m

m

m w

w m w

m

w

M H A m

m m

A

m




12/13

352THEARTBULLETN

20 Marinetti, Self Portrait (Dynamic Combination of Objects), 1914,

whereaboutsunknown fromSketch London May13 1914

2 1D Z y Gu u m Ap o n r 19 14 f rom L So r d

Pars, Ju y-Aug 1914, 378

G

m

22 Picabia, Ici, cest ici Stieglitz, 1915 New York,

Metropolitan Museum of Art, Alfred Stieglitz Collection,

h M m

"thinking and perceiving man "60 Indeed, the entire picture is

literally crowded with "all the constructions of your mind that

will praise you together," as De Chirico writes in the roughly

contemporary prose pece "The Man w th the Angushed

Look."6 De Chirico has portrayed the enduring, but

v r hng ng k n o fm n

The illusionistically painted representations of sensuously

perceved tme and space, such as the nautca maps, bscu ts,

breads, grained wood panels, etc., used in this series, hold

spatial planes of their own as in Cubist collages As ob ects,

they indeed provide starting points for voyages, functioning

like Proustian moments bienheureux that break the limits of the

here and now Particularly, the nautical maps allude to the

m g of h r m rn r p o o fr qu n y u d n h

writings of both De Chiricos. Like the metaphorical stage of

De Chirico, the notion of the mariner-pilot-artist underscores

the endless odyssey of consciousness, which not only forms the

basic content of the "still life portraits" just discussed, but

n u y h M p hy A wh

The Grand Metaphysician of 1917 (Fig. 4) represents a noble,

fp ct o r c a y e s s da rng cma xa nd s ynthe s s o fDeChr co s

efforts at arriving at a new, universal and heroic image of man

60 Savinio, "Le Drame et la musique," 241




13/13


m m

w m m

w

m m m m m

m

w N

w m m A

H m m m

m

m mm w H

m A m m

m

m W w

w w

m m m w

m m m

w m m

m m w

m w

H m m w

m w

m m

m m

m

G M

m m M A

m

m w

m A m w

m m

W m w m w

w w A

m G M m

w m

m U m

w

m m m m m

w

m m m m

V m m R m

m or ng po v or D Ch r o k B o o n

m m

N m m

w

G GRA H N w

m m

m

m m

w m

w m w

A w

m m

m m m

m w m

m

W m w

m w

m m m A M

m M

62 Pittura moderna, reprinted in La cittAL dalle cento meraviglie ed altri scritti,

63 M. CarrA, 154. (In this translation "daemon" is mistakenly repeated in

h nd xh r n n d f rn n g w h y

64 Ibid., 154.

65 Ibid, 88

Date post:	07-Jul-2018
Category:	Documents
Upload:	xara-argyropoulou
View:	214 times
Download:	0 times

Martin on de Chirico and Pm

Documents