Reproduction from Amedeo Modigliani, Giorgio de Chirico - Diptych - Untitled

Modigliani Amedeo.

Portraiture is one of the most widespread artistic expressions, especially in painting, but also in sculpture, throughout the ages. Portraiture is, first and foremost, a description of the subject depicted, an attempt to capture their physiognomy and individual characteristics truthfully and naturally. With the progressive evolution of artistic research, the physiognomic description of the subject has also been accompanied by a psychological one. Therefore, over the centuries, portraiture has also become a means of introspective investigation of the subject, their character, and their state of mind. The processes of abstraction brought about by contemporary art have contributed to this type of investigation.

This work is an excellent reproduction that demonstrates the distinctive features of Amedeo Modigliani's style, especially in his favorite genre: portraiture. Modigliani's artistic language is deeply rooted in Expressionism (from which he borrows the process of synthesizing the subject) and Cubism (for the ability to break down the subject through the use of multiple viewpoints). Modigliani draws on these influences, but while in Expressionism and Cubism, synthesis and decomposition served to represent universal concepts and ideas, Modigliani uses these tools to enhance the individuality of his subjects. Thus, through his elegant graphic line, he explores physiognomies, simultaneously deconstructing and synthesizing them, to delve deeply not only into the physical features but also into the psychological characteristics of the subject.

Amedeo Modigliani was a painter originally from Livorno, where he was born in 1884. His entire career, however, developed in Paris, where he moved in 1906 and where he died in 1924 of tuberculosis. There, he became acquainted with the historical avant-garde movement, particularly with Cubism, of which he was never a member. Instead, he developed his own original style based on a pure graphic line. His faces always have an archaic appearance, flat and iconic, with the typical deformations of a distinctive and highly personal artistic language (long necks, pursed mouths, black almond-shaped eyes).

Giorgio De Chirico

The iconography of this work is inspired by a conscious classicist quotation. The artistic language draws on classical antiquity, both Greek and Roman. This translates into an execution whose primary goal is mimesis, that is, the human need to imitate and reproduce nature and its surroundings. However, here we see a reworking by the master de Chirico, so that even the classical subject evokes a sense of alienation, in keeping with his metaphysical aesthetic.

Classicist quotationism is a fundamental component of Giorgio de Chirico's aesthetic. Often, in keeping with the dictates of Metaphysical Art, classical or archaeological references are placed in an unusual context, creating a disorienting effect. In this case, we are faced with a work in which the artist leaves his own mark, namely the presence of an archaic element drawn from a gallery of images from the past. This type of iconography touches on a fundamental concept in De Chirico's poetics, also fundamental to the development of his metaphysical theses: the concept of a "return to origins." For De Chirico, contemporary art should not create new images; rather, the artist should select them from the past, as if it were an ideal museum, arrogating to himself the freedom to rework them into creative compositions.

Giorgio De Chirico, born in Volos, Greece, in 1888, died in Rome in 1978. He is the founder of Metaphysical painting. De Chirico reclaims images that already exist, familiar to the collective imagination. But he creates an effect of estrangement through the process of displacement—the sudden appearance of an object outside its usual context—or condensation, the fusion of multiple objects into a single entity. Metaphysical painting is also characterized by the illusory nature of its images.

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