GIORGIO MORANDI AND GIORGIO DE CHIRICO
POETRY AND MYSTERY MEET
October 3, 2009 - February 15, 2010
Giorgio Morandi and Giorgio de Chirico are confirmed once again as the protagonists of Italian art on the international scene, as highlighted by the exhibitions that the Metropolitan Museum in New York and the Musée d'Art Moderne de la ville de Paris have recently dedicated to the one or the other of the two masters. Two undisputed representatives of the twentieth century of our country, today proposed together in a single and interesting review wanted and designed by Franco and Roberta Calarota ready to stimulate a new reflection on their work and to bring out new aspects of their artistic work. An original dialogue between poetics and evocative atmospheres that takes place within the walls of the Galleria d'Arte Maggiore g.a.m. where the refined language, the ideal instrument to express an extraordinary lyrical essentiality, meets the strong evocative charge that emerges from the paintings of the metaphysical painter in a continuous creative osmosis.
Despite the fact that over time Giorgio Morandi and Giorgio de Chirico have developed a completely personal and original language, a special link is perceptible between the poetics and sensibilities of the two artists. After their meeting in 1919 and Morandi's participation in the so-called "metaphysical school", the paths of the two artists separate but the comparison between the impalpability and the suspension of the forms of the natures remains intriguing, or perhaps even more so. of Morandi's flowers or landscapes and the enigmatic nature of the metaphysical interiors and squares of De Chirico, between the suspension in time and space in which the famous bottles and the ambiguous and still scenarios are immersed from which the well-known mannequins emerge. In other words, the most suggestive comparison is between the two different and completely personal ways of internalizing the external world. If it is true that works of different subjects and techniques alternate on the walls of the Galleria d'Arte Maggiore g.a.m., it is equally clear that the external reality presented in each work is a pretext to offer an inner vision of what surrounds us.
Both our two artists offer a different access key to this more intimate and private dimension: Morandi plays with everyday and domestic objects, with recognizable scenarios immersed in vibrant lights, made with essential shapes and with those shades of color so recognizable; De Chirico instead ventures into another world, populated by bizarre characters or, if familiar, however alienating because they are located in a space-time that is not the usual one. The one expresses itself through calm and orderly visions, the other makes its own more uncertain and disturbing atmospheres.
Overall, the exhibition therefore proves to be an important opportunity for direct dialogue between two of the major artists who have left an indelible mark on the history of twentieth century art and on which in recent years there has also been a strong international interest to deepen their knowledge. study as evidenced by Morandi's recent exhibitions at the Metropolitan Museum in New York and by De Chirico at the Musée d'Art Moderne de la Ville de Paris.
The installation in the Gallery of the selection of Morandi's works requires particular attention to the compositional style favored by the artist and to his choices of light and intensity of the sign. While in the case of De Chirico we intend to give visibility to the different stages of his production by exhibiting works from 1928 to the sixties.