Ettore e Andromaca by Giorgio de Chirico

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Ettore e Andromaca

by Giorgio de Chirico

The work by the De Chirico is the farewell to Hector the husband of Andromache before the battle against Achilles caused by the killing of his cousin in battle. The work is rappresented by the stylized representation of two mannequins. This position helps us understand the sadness but at the same time the tenderness that the designed characters can express. The work is metaphysical, it is characterized by the simplification of the subject and the representation of an abstract environments.

What do you see?

The colors used in this work are very bright. We note that the background is a gradient and have not used the color evenly as in the various parts of the body. By analyzing the colors we can see that there is a difference between a woman and man in the opera in the woman's legs area the white as the face, indicating weakness, while the man is more manly the brown color to indicate strength. In the background was applied to indicate a gradient, most likely, the romantic moment and to sweeten the work.

The technique used by the artist is oil on canvas.
One of the hallmarks of this work is the effect that the background color gradient from blue to yellow most probably an early dawn of love between the two entities. Another effect that seems clear is that the dummies to expect love. Most likely, the dummies represent love very static (built).

The dimensions of the work are 78.8 x 63.5 cm.
The line is essential and without determine the importance of individual muscles and body parts. The lines of force start from the center and then go right and left following. The light is centered on the right subject and always comes from the right, we can also notice the shadow of those left. The symmetry in the picture in evident,there isn’t rythm,we can’t find detail repeted.
Critical Analysis

The painting was involved in world war 1 and is currently stored at Milan at Gianni Mattioli Collection. In that year, Italy, the United States went to war and in Russia there was the October Revolution. De Chirico and Carra are known in Ferrara and worked together in the hospital "Villa del Seminario" wagon to the end of the year will exhibit their metaphysical paintings in Milan. The artist introduces a new way to see objects to paint. De Chirico expressed a strong melancholy, lonely and repellent. It’s a world full of mutations, with a controversy vision dictated by loyalty to his spiritual beliefs.
The best production of paintings by de Chirico took place between 1909 and 1919, during the invention of metaphysical painting: the paintings of this period are memorable for the poses and attitudes evoked by the sharp images. At the beginning of this period, his subjects were inspired by bright daylight of Mediterranean cities, but then gradually turned its attention to the studies of classical architecture. Also in this period, there is the archaeological theme, a homage to the classical reinvention such as the painting of "Hector and Andromache" and "Roman Villas.
Biography of the author

Giorgio de Chirico was born to a noble italian family: the father Evaristo, railway engineer, built the first railway in Bulgaria and Greece, the mother Gemma Cervetto was a lady of the bourgeoisie of Genoa. Born in 1891 in the same city as his brother Andrew Albert, who become in 1914 Alberto Savinio for his work as a musician, writer and painter. Giorgio would register at the Athens Polytechnic to undertake the study of painting. The two brothers were very close and shared their knowledge. Around 1909 he began to outline the poetry of the metaphysic, art able to govern the emotions and transform the unconscious. In 1911 de Chirico joined his brother Albert in Paris where he met the leading artists of the time and begin to paint pictures with a (more secure)style.
Between 1912 and 1913 his fame spreads, although he does not get an adequate economic success. In this period he begins to paint his first dummies. At the outbreak of World War 1 the de Chirico’s brothers volunteered and are sent to Ferrara. After an initial period of disorientation due to the change of the city, George renewed his paintings. He does not paint the greatest absolute position but still lives with geometric symbols, biscuits and breads.
In the fifties, his painting is characterized by his self-portraits in costume like baroque and views of Venice. He died in Rome on 20 November 1978.
The figure of the dummy was instead inspired by the 'man without a face "character in a drama of his brother Alberto Savinio, painter and writer.

Arts-Related: "Encounter of Hector and Andromache (Book VI of Illiade).
"A man" by Eugene Kelly

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