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拍品专文
This work is sold with a photo-certificate from the Fondazione Giorgio e Isa de Chirico, Rome.
'This lively, imaginary work belongs to a group of about thirty works that were executed by De Chirico around the same period, all combining the "ancient" technique of tempera with a very fresh, renovated compositional style. The figures are set in a typical Greek seashore landscape. A warrior holds in his lap a blonde ephebe, who lays down as if he were dead. The upper part of the warrior’s helmet is agitated by a strong wind and closely resembles the tale of the white horse standing to the left. The iconography of the Achaean warrior derives from a famous painting by Böcklin. The figures in Il figlio del guerriero find their precedents in De Chirico’s paintings of the 1920s – the so-called "Laic Mystery", a phase very much appreciated by Jean Cocteau – with their combination of ancient and contemporary elements' (M. Fagiolo dell’Arco, writing on the present work in 2000).
In the essay he wrote on the present work in 2000, Maurizio Fagiolo dell’Arco, when describing the group of work to which this belongs, he compared them, for beauty and importance, to Magritte's gouaches, stressing how underrated these temperas still are. Many of these works have recently been rediscovered in American collections; in fact, while De Chirico was in New York, he did not produce a large number of works, and most of them were executed with the same technique as the present work. They belong to the cycle of 'researches of inventions and fantasy', which the artist introduced in a piece he wrote for the 1935 Rome Quadriennale. They are the natural outcome of the fantastic theatrical series of the so-called 'Puritani', which had been a major success in Florence in 1932, but also of the 'Bagni misteriosi'. Many of these works are a testimony of pieces that the artist ended up never reproducing in oil, and they are perfect combinations of the old and the new, cheerful expressions of the artist’s ever-present nostalgia.
'This lively, imaginary work belongs to a group of about thirty works that were executed by De Chirico around the same period, all combining the "ancient" technique of tempera with a very fresh, renovated compositional style. The figures are set in a typical Greek seashore landscape. A warrior holds in his lap a blonde ephebe, who lays down as if he were dead. The upper part of the warrior’s helmet is agitated by a strong wind and closely resembles the tale of the white horse standing to the left. The iconography of the Achaean warrior derives from a famous painting by Böcklin. The figures in Il figlio del guerriero find their precedents in De Chirico’s paintings of the 1920s – the so-called "Laic Mystery", a phase very much appreciated by Jean Cocteau – with their combination of ancient and contemporary elements' (M. Fagiolo dell’Arco, writing on the present work in 2000).
In the essay he wrote on the present work in 2000, Maurizio Fagiolo dell’Arco, when describing the group of work to which this belongs, he compared them, for beauty and importance, to Magritte's gouaches, stressing how underrated these temperas still are. Many of these works have recently been rediscovered in American collections; in fact, while De Chirico was in New York, he did not produce a large number of works, and most of them were executed with the same technique as the present work. They belong to the cycle of 'researches of inventions and fantasy', which the artist introduced in a piece he wrote for the 1935 Rome Quadriennale. They are the natural outcome of the fantastic theatrical series of the so-called 'Puritani', which had been a major success in Florence in 1932, but also of the 'Bagni misteriosi'. Many of these works are a testimony of pieces that the artist ended up never reproducing in oil, and they are perfect combinations of the old and the new, cheerful expressions of the artist’s ever-present nostalgia.