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拍品专文
Painted in 1923, La Cena del cappuccino portrays the elements of a humble meal for a friar: a slender bottle of oil, a ceramic plate, a water jug, a large leek, an apple, a potato and an hourglass set against a wall. Yet in depicting these simple objects in such great scale, dominating the canvas, de Pisis has lent them a strange poetic monumentality. The juxtaposition of the hourglass, in particular, to the objects of a basic evening meal adds an enigmatic atmosphere fundamental to the artists associated with Pittura Metafisica. The metaphysical aspect of the composition has been emphasised by the startling blue and red in the centre of the hourglass within an otherwise subdued colour palette, further emphasised by the diagonal positioning of the leek, leading the viewer's eye to this mysterious component.
De Pisis had known several of the artists associated with the Pittura Metafisica since 1916. It was in Ferrara, at the age of twenty, that he came into contact with Giorgio de Chirico, his brother Alberto Savinio and Carlo Carrà. His exposure to these avant garde artists during his formative period would play a significant role in his future artistic career. After moving to Rome in 1920, where he lived for the next five years, De Pisis, having focused much of his university studies on literary pursuits, became an intellectual advocate of Pittura Metafisica by collaborating with many publications including Valori Plastici. It was at this time that De Pisis increasingly turned to painting, as he began to collate the various influences drawn from his early humanist education, his exposure to the avant garde artists in Ferrara and the creative and reactionary atmosphere in Rome. In this framework, De Pisis painted the present picture, in which he seeks to fuse these seemingly disparate elements and personal tensions into a classical balance.
De Pisis had known several of the artists associated with the Pittura Metafisica since 1916. It was in Ferrara, at the age of twenty, that he came into contact with Giorgio de Chirico, his brother Alberto Savinio and Carlo Carrà. His exposure to these avant garde artists during his formative period would play a significant role in his future artistic career. After moving to Rome in 1920, where he lived for the next five years, De Pisis, having focused much of his university studies on literary pursuits, became an intellectual advocate of Pittura Metafisica by collaborating with many publications including Valori Plastici. It was at this time that De Pisis increasingly turned to painting, as he began to collate the various influences drawn from his early humanist education, his exposure to the avant garde artists in Ferrara and the creative and reactionary atmosphere in Rome. In this framework, De Pisis painted the present picture, in which he seeks to fuse these seemingly disparate elements and personal tensions into a classical balance.