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拍品专文
As attested by the close resemblance to Ritratto di Isabella Far, painted by De Chirico the same year he completed the present lot, and recorded under number 21 of the same volume of the catalalogue raisonné published by Claudio Bruni Sakraischik in 1971, it is likely that Busto di donna a riposo also depicts a portrait of the artist’s second wife Isabella Pakszwer Far.
De Chirico had met Isabella, ‘Isa’, in Paris in 1930 and would remain with her for the rest of his life. Together they moved to Italy in 1932, and to the United States in 1936, finally settling in Rome in 1944. Isa was of Russian origins and would appear in several portraits which De Chirico completed during the years they spent together.
In Busto di donna a riposo the sitter is shown while resting in what appears to be a hot summer's day, within a domestic interior which suggests a certain intimacy between her and the painter.
The history of the present lot, which was gifted directly by the artist's widow to the father of the present owners, also seems to confirm that the model of the painting may be Isabella herself.
De Chirico had met Isabella, ‘Isa’, in Paris in 1930 and would remain with her for the rest of his life. Together they moved to Italy in 1932, and to the United States in 1936, finally settling in Rome in 1944. Isa was of Russian origins and would appear in several portraits which De Chirico completed during the years they spent together.
In Busto di donna a riposo the sitter is shown while resting in what appears to be a hot summer's day, within a domestic interior which suggests a certain intimacy between her and the painter.
The history of the present lot, which was gifted directly by the artist's widow to the father of the present owners, also seems to confirm that the model of the painting may be Isabella herself.