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Giorgio De Chirico

Italy (Volos, Grecia 1888 -  Roma 1978 ) Wikipedia® : Giorgio De Chirico
DE CHIRICO Giorgio  Portrait Of Anna Laetitia

Stair Galleries /Jun 3, 2017
713.08 - 1,069.61
2,674.50

Find artworks, auction results, sale prices and pictures of Giorgio De Chirico at auctions worldwide.
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Variants on Artist's name :

Chirico De Giorgio

 

Artworks in Arcadja
3177

Some works of Giorgio De Chirico

Extracted between 3,177 works in the catalog of Arcadja
Giorgio De Chirico - Bucefalo

Giorgio De Chirico - Bucefalo

Original
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Gross Price
Lot number: 399
Other WORKS AT AUCTION
Description:
Giorgio de Chirico (1888-1978) Bucefalo signed 'g. de Chirico' (on the back of the base); stamped with the foundry mark and numbered 'FONDERIA ART F.LLI BONVICINI SOMMA CAMPAGNA 0/0' (on the side of the base) bronze with gold patina Height: 14 in. (35 cm.) Conceived in terracotta in 1940, and cast in bronze in an edition of nine plus one artist's proof, between 1988-1991
Giorgio De Chirico -  Piazza D'italia

Giorgio De Chirico - Piazza D'italia

Original 1972
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Lot number: 237
Other WORKS AT AUCTION
Description:
Giorgio de Chirico (1888-1978) Piazza d'Italia signed 'G. de Chirico' (lower right) gouache, watercolour, brush and ink and black crayon, over a printed base 39 1/4 x 27 1/2 in. (100 x 70 cm.) Executed in 1972 The Piazza d'Italia is the most significant and repeated theme of Giorgio de Chirico's œuvre. These enigmatic works formed an almost constant presence throughout his career, with their melancholic evening shadows and eerily empty squares evoking a sense of the mysterious reality that lies concealed behind the everyday. The symbolism, which first appeared in a series completed between 1912 and 1913, is based on a synthesis of Greek mythology, Nietzschean philosophy and de Chirico's own life and experience. For the Greek born, Italian painter the story of the abandoned princess Ariadne, who had saved Theseus from the Minotaur and was later rescued herself by Dionysus, took on a rich metaphorical meaning. She not only represented the classical past of his homeland, but also signified his reading of Nietzsche's radical reinterpretation of the myth, which cast Ariadne as a symbol for the ascension of intuitive consciousness. According to de Chirico's scholar Paolo Baldacci, the artist upheld Nietzsche's vision of Ariadne as a metaphor for the soul, 'which, abandoned by Theseus--the hero of reason and logic--welcomes the superhero Dionysus, god of mysteries of earth and body' (P. Baldacci, Giorgio de Chirico The Metaphysical Paintings, London 1997, p. 138). The sad figure of Ariadne seen 'endlessly contemplating her shadow', as de Chirico wrote in a 1912 poem entitled 'The Statue's Desire', therefore signifies a state of limbo, where she awaits the physical and spiritual awakening that would return her to a labyrinth of the unconscious. In this version of the Piazza d'Italia, de Chirico transports this classical subject into the industrial age, with a speeding train and an eternal meeting between two suited men in the distance. Like the slumbering Ariadne, these motifs are linked to de Chirico's metaphysics of anticipatory arrival, whilst the shadowy arcades of the surrounding buildings invoke the city of Turin. Turin was the city which had first revealed to de Chirico the 'strange and profound poetry' of 'an autumn afternoon' and which had also awoken in him the philosophical belief in another reality underlying that of perceptual understanding. Turin was also the location where Nietzsche had gone mad, at the end of his metaphysical journey. This location of the end to Nietzsche proved however to be the starting point of de Chirico's own odyssey, and he began to subvert the classicism of the city's architecture and the strict rational logic of one-point perspective, so championed by the Renaissance humanists, and to transform it into a metaphor for the chaos of the uncanny. The artist expressly revisited his old themes in the Post-War years. In a sense, this was a ritualistic tribute that displayed de Chirico's loyalty to his art and his beliefs, which lead to the story of Ariadne becoming subsumed within his own myth, where she is an emblem for the artist's quest for knowledge and the pursuit of art itself.
Giorgio De Chirico - Venezia (palazzo Ducale)

Giorgio De Chirico - Venezia (palazzo Ducale)

Original
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Lot number: 334
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Description:
Giorgio de Chirico VENEZIA (PALAZZO DUCALE) signed G. de Chirico (lower right); signed Giorgio de Chirico and inscribed on the reverse oil on canvas 49.5 by 70.4cm., 19 1/2 by 27 1/2 in. Painted circa 1960. The authenticity of this work has been confirmed by the Fondazione Giorgio e Isa de Chirico.
Giorgio De Chirico -  Portrait Of Anna Laetitia

Giorgio De Chirico - Portrait Of Anna Laetitia

Original 1938
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Lot number: 27
Other WORKS AT AUCTION
Description:
Lot 27 GIORGIO DE CHIRICO (1888-1978): PORTRAIT OF ANNA LAETITIA Pencil on paper, 1938, signed 'Giorgio de Chirico' upper right, inscribed 'Sul "Rex" G. de Chirico' lower right, with the Collezione Contessa Anna Laetitia Pecci Blunt inkstamp on the reverse, with label from Bruno Tartalia, Rome. 7 1/2 x 5 3/4 in. (sheet), 17 x 13 in. (frame). Exhibited: Una Collezionista E Mecenate Romana: Anna Laetitia Pecci Blunt 1885-1971, November 6, 1991-January 6, 1992, catalogue no. 87, illustrated p. 90. Provenance: Collezione Contessa Anna Laetitia Pecci Blunt.
Giorgio De Chirico -  Cavaliere Con Berretto Frigio

Giorgio De Chirico - Cavaliere Con Berretto Frigio

Original 1937
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Lot number: 21
Other WORKS AT AUCTION
Description:
Giorgio de Chirico * (Volos, Greece 1888–1978 Rome) Cavaliere con berretto frigio, c. 1937, signed g. de chirico, tempera on thick paper, 23 x 32 cm, framed Photo certificate by Claudio Bruni Sakraischik, Rome, 31 March 1988, archive no. 5/88/CB Provenance: Private Collection, Italy European Private Collection Exhibited: Cherasco, I fratelli de Chirico. Giorgio e Alberto Savinio, Palazzo Salmatoris, 9–19 December 2004, exh. cat. pp. 78–79 with ill. (label on the reverse)
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Giorgio De Chirico - Il Fiume Misterioso
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