24 March 2016
Pera Museum is proud to present an exhibition of Giorgio de Chirico, a pioneer of the metaphysical art movement and one of the most extraordinary artists of the 20th century. This part of Giorgio de Chirico: The Enigma of the World exhibition, called “Between Surrealism and Mediterranean Myth (1924 -1935)” illustrates de Chirico’s relations with Surrealist artists and the important artworks he created during his first years in Paris.
Between Surrealism and Mediterranean Myth (1924 -1935)
Temple in a Room, c. 1926, Oil on canvas, 46,7 x 55,2 cm.
A. Pallesi̇ Art Gallery Collection, Monaco
During the early 1920s, André Breton, the founder of Surrealism, together with Paul Éluard, the Surrealist French poet, made contact with de Chirico and enjoyed a brief convergence de vues between 1923-1925. Breton was profoundly taken by the artist’s metaphysical production of 1910-1918, much of which he and the Surrealists had acquired in Paris soon after the war. Attracted by this interest, de Chirico moved to Paris with his companion Raissa Gourevitch in late 1925. The transition marked another stylistic change, with de Chirico developing much new and highly original subject matter such as Furniture in the Valley, The Gladiators, Trophies, Sun on the Easel, The Archeologists and Horses on the Seashore.
Horses And Ruins on the Seashore, 1927, Oil on canvas, 91,7 x 73,7 cm.
Courtesy Farsetti Arte, Prato
The Surrealist insistence, however, on the geniality of the artist’s early artistic output, to the complete detriment of his post-1918 work, soon became a point of irreparable contention, and their relationship definitively ruptured in 1926. From that moment forth, de Chirico would find himself having to defend his post-1918 artistic choices as well as counter Surrealist-led defamatory accusations including the phenomenon of forged works; it was the Surrealists were actually the first to fake his work.
Highlighting his various periods with examples from his earliest works to last ones, Giorgio de Chirico: The Enigma of the World exhibition took place at the Pera Museum between 24 February - 08 May 2016.
Celebrating its 10th anniversary this year, Pera Museum invites artist Benoît Hamet to reinterpret key pieces from its collections, casting a humorous eye over ‘historical’ events, both imagined and factual.
Over the years of 1864 through 1876, Stanisław Chlebowski served Sultan Abdülaziz in Istanbul as his court painter. As it was, Abdülaziz disposed of considerable artistic talents of his own, and he actively involved himself in Chlebowski’s creative process, suggesting ideas for compositions –such as ballistic pieces praising the victories of Turkish arms.
Pera Museum’s Instagram account was taken over by “This is Not A Love Song” exhibition’s project managers Fatma Çolakoğlu and Ulya Soley!
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