This contribution by Paolo Baldacci relates to a group of recent exhibitions focused primarily on the oeuvre of Giorgio de Chirico, some of which also included works by other artists. These exhibitions, almost all of which were supported by the Fondazione Giorgio e Isa de Chirico, are characterised by a distinct lack of academic study and historically motivated facts, and above all, little regard for the quality and authenticity of the works on exhibition.
In particular, Baldacci calls into question a painting from the early Twentieth century - generically titled "La Passeggiata" - by an anonymous author, which in recent decades has frequently been classified as one of de Chirico's most important early works, and dated to 1909. This erroneous attribution has been endorsed by the Fondazione de Chirico, an institution that zealously uses all of the means at its disposal to hinder any form of academic research into the history of de Chirico and his oeuvre, while allowing paintings that are notoriously forgeries to be exhibited in shows of this sort, or proposing insignificant works from the artist's late career as masterpieces of Metaphysical art (with the consequential revaluation of the works for the collectors who are taken in by these questionable assertions).
We must react strongly to this lack of philological precision, which can but lead to growing complacency amongst galleries and "familiar" dealers, and makes the prospect of revising the more than unreliable, vulgar Catalogue Raisonné dedicated to this great modern artist - compiled and curated by Claudio Bruni Sakraischick during the Seventies and Eighties - an increasingly fearful task.
Archivio Dell'Arte Metafisica - Piazza Mirabello, 1 - 20121 Milan, Italy