Publications

Archivio-Metafisica005.jpgConference Proceedings

ORIGINE E SVILUPPI DELL'ARTE METAFISICA

Milano e Firenze 1909-1911 e 1919-1922


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The first three essays by Paola Italia, Gregorio Nardi and Paolo Baldacci are dedicated to the origin of Metaphysical Art. They confirm - on the basis of many unpublished sources - the coherence of a historic reconstruction that dates the creation of the Metaphysical aesthetic and the first paintings titled "Enigmi" to a period between the summer and autumn of 1909 in Milan. Following on from Maria Grazia Messina's connection between de Chirico to the Avant-garde movements in Paris between 1912-1914, the second part of the volume is dedicated to the study of the many difficulties that the two brothers and founders of the Metaphysical aesthetic would face during the post-war period, including the theoretical organization of the "Metaphysical School's" new poetic within a continually mutating cultural and political situation, relations with critics and companions encountered by the artists during their travels, and finally, their stance in terms of the artistic debate. With essays by Federica Rovati, Fabio Amico, Nicol Mocchi, Emanuele Greco, Luca Pietro Nicoletti.


Contributi.jpgPaolo Baldacci and Gerd Roos
CONTRIBUTI AL CATALOGO DI GIORGIO DE CHIRICO

Fascicolo I - Interno metafisico (Nature morte)


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The series entitled Contributi al Catalogo di Giorgio de Chirico examines a number of historic works created by de Chirico between 1909-1943 that have been declared to be forgeries in the past - either by the artist himself or by the artist's legal representative, the Fondazione Giorgio e Isa de Chirico -, but which are almost certainly authentic. In this first volume, styled along the lines of a detective novel, the authors narrate the incredible story of a painting created by de Chirico in Paris during the summer of 1933, which was subsequently declared to be a fake by experts at the Fondazione Giorgio e Isa de Chirico. The life of the painting is meticulously reconstructed through a series of specific historic documents. As a subject of historic study and technical and stylistic analysis, this volume provides new insight into de Chirico's artistic life in the years between 1930 and 1940 and begins to shed light on the circumstances surrounding the creation of replicas and backdated variations on metaphysical themes, as well as unraveling the mystery surrounding the earliest appearances of forgeries of works from this period on the French and American markets.

 

Carrak.jpgFederica Rovati

CARRA' TRA FUTURISMO E METAFISICA


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This volume by Federica Rovati is a compilation of the author's writings, including two unpublished pieces, dedicated to singular aspects of Carlo Carrà's pictorial activity between 1915 and 1921. While critics generally read the history of Carrà's historic development as a sequential series of artistic seasons, including his Futurist, Primitivist and Metaphysical periods - , each of which would be fast consumed and archived by the artist in quick succession -, the author's studies look at the most intimate elements of the artist's work, in which some residues of Futurism remain embedded despite the artist's declared detachment from Marinetti's movement, while a slow stratification of his reading and personal contemplations prepares and fosters his encounter with de Chirico's Metaphysical art. This important text signals the rebirth of new interest in this artist's historic importance and signals a return to serious research on this subject.

 

COPERTINA_LEFEVRE_Pagina_1.jpgFlavia Matitti, Gerd Roos

"LONDRA D'ESTATE è QUANTOMAI METAFISICA". GIORGIO DE CHIRICO E LA GALLERIA ALEX. REID & LEFEVRE (1937-1939)

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«At the Lefevre Gallery in London - a serious gallery that is not as stupid as most galleries of modern painting - a solo exhibition of my more recent paintings was installed, and I went personally to London». Giorgio de Chirico would write this in his memoirs, thus describing the exhibition held at the Alex. Reid & Lefevre gallery during July of 1938 in London - a city in which he lived «hours of profoundly metaphysical emotion». The artistic, commercial and personal experiences linked to this important exhibition can finally be studied in detail thanks to the discovery of the correspondence between Giorgio de Chirico and the London-based gallery. Thirty-seven of these documents are accompanied by a critical study and a rigorous cataloguing of the thirty-one works that were presented at the exhibition. Almost half of these works have been identified, and provide another valuable contribution to the future publishing of an updated Catalogue Raisonne dedicated to Giorgio de Chirico's oeuvre.

 

COPERTINA_SELIGMANN_Pagina_1.jpgGerd Roos

GIORGIO DE CHIRICO E GERMAIN SELIGMANN: MANOVRE SUL MERCATO AMERICANO TRA 1937-1938 

 

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The correspondence between Giorgio de Chirico and the American art dealer Germain Seligmann sheds new light on the real outcomes of the artist's stay in New York between August 1936 and the beginning of January 1938. While the Italian press would present this journey as a triumph, in reality De Chirico's journey to America was a failure. This failure was partly due to tactics that the artist, ever true to his old habits, would adopt, going against his oldest and most sincere backer - the gallerist Julien Levy - by approaching more famous dealers like Seligmann or Wildenstein - who were undoubtedly richer, but also less motivated - in the hope that they would bring him greater returns. This strategy would reveal itself to be a failure, and resulted in de Chirico's more recent production being almost completely cut out of the American market. The volume concludes with a section in which the works mentioned in the text are meticulously catalogued - many of which have been identified and therefore provide invaluable information to a Catalogue Raisonné dedicated to Giorgio de Chirico's entire oeuvre. 

 

sabatello_2013.jpgPaolo Baldacci, Gerd Roos

PIAZZA D'ITALIA (SOUVENIR D'ITALIE II). 1913 [LUGLIO-AGOSTO 1933]

 

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This volume - the second in the series of Critical Addenda to the Catalogue of Giorgio de Chirico's oeuvre - examines one of de Chirico's most famous legal battles of the post-war period, which would be triggered by the artist's declaration that a ‘Piazza d'Italia' painting, which had been sold to Dario Sabatello by the Galleria del Milione in 1946 and had formerly featured in the Frua, Valdameri and Della Ragione collections, was a forgery. The civil trial that ensued would run its course between 1947 and 1955, with the public status of the parties involved attracting the attention of an international audience. The sentence issued by the Court of First instance in Rome would declare that de Chirico had lied and that the painting was indeed authentic, however the verdict issued by the Appeals Court would turn this judgment on its head and declare the painting to be a forgery - a verdict that would subsequently be confirmed by the Court of Cassation in 1956.
This critical text guides the reader on a discovery of the historical truth, a truth that differs greatly from the courts' final verdict - a judgement that would seal this work's fate in recent times. One discovers that although the work bears the date 1913, it was actually painted in Paris during the summer of 1933 and would be sold by de Chirico to one of his most prestigious collectors, Alberto Della Ragione, soon after its exhibition in a retrospective exhibition held in Zurich during September of the same year. The volume thus disproves the artist's theory - which was based predominantly on this episode and documented in his Memoirs of 1945 -, that he was the victim of a plot engineered by the Modernists and Surrealists, who aimed to devalue his recent paintings by invading the market with falsified works. The study not only contributes to the recovery of an authentic work and its recognition as such in the catalogue dedicated to the artist's oeuvre, but also invites one to objectively reconstruct the true story of the crucial years between 1933 and 1948 - the period in which de Chirico would create a tangled, complex but not inextricable aura of confusion that until recently, would constitute the so-called "de Chirico case".