Giorgio de Chirico (July 10, 1888 – 20 November 20, 1978), an Italian artist, who in the years before World War I, founded the scuola metafisica art movement, which profoundly influenced the surrealists. After 1919, he became interested in traditional painting techniques, and worked in a neoclassical or neo-Baroque style, while frequently revisiting the metaphysical themes of his earlier work.
De Chirico is best known for the paintings he produced between 1909 and 1919, his metaphysical period, which are characterized by haunted, brooding moods evoked by their images. At the start of this period, his subjects were still cityscapes inspired by the bright daylight of Mediterranean cities, but gradually he turned his attention to studies of cluttered storerooms, sometimes inhabited by mannequin-like hybrid figures.
In autumn, 1919, De Chirico published an article in Valori Plastici entitled “The Return of Craftsmanship”, in which he advocated a return to traditional methods and iconography. This article heralded an abrupt change in his artistic orientation, as he adopted a classicizing manner inspired by such old masters as Raphael and Signorelli, and became an outspoken opponent of modern art.In the paintings of his metaphysical period, De Chirico developed a repertoire of motifs—empty arcades, towers, elongated shadows, mannequins, and trains among others—that he arranged to create “images of forlornness and emptiness” that paradoxically also convey a feeling of “power and freedom”. According to Sanford Schwartz, De Chirico—whose father was a railroad engineer—painted images that suggest “the way you take in buildings and vistas from the perspective of a train window. His towers, walls, and plazas seem to flash by, and you are made to feel the power that comes from seeing things that way: you feel you know them more intimately than the people do who live with them day by day.”
In 1982, Robert Hughes wrote that De Chirico “could condense voluminous feeling through metaphor and association … In The Joy of Return, 1915, de Chirico’s train has once more entered the city … a bright ball of vapor hovers directly above its smokestack. Perhaps it comes from the train and is near us. Or possibly it is a cloud on the horizon, lit by the sun that never penetrates the buildings, in the last electric blue silence of dusk. It contracts the near and the far, enchanting one’s sense of space. Early de Chiricos are full of such effects. Et quid amabo nisi quod aenigma est? (“What shall I love if not the enigma?”)—this question, inscribed by the young artist on his self-portrait in 1911, is their subtext.”
In this, he resembles his more representational American contemporary, Edward Hopper: their pictures’ low sunlight, their deep and often irrational shadows, their empty walkways and portentous silences creating an enigmatic visual poetry.
For more information on Giorgio de Chirico click here.
We would love to hear from you on what you think about this post. We sincerely appreciate all your comments.If you like this post please share it with friends. And feel free to contact us if you would like to discuss ideas for your next project!
The original photo taken by my friend and international collaborator, Lorenzo Bernardino, inspired me to talk about the #3 and why I think it is such a fantastic number (besides the fact that it is my name).
The following is borrowed from Wikipedia, the free online encyclopedia:
The Carmo Convent (Portuguese: Convento da Ordem do Carmo) is a historical building in Lisbon, Portugal. The mediaeval convent was ruined in the 1755 Lisbon Earthquake, and the ruins of its Gothic church (the Carmo Church or Igreja do Carmo) are the main trace of the great earthquake still visible in the city.
The Carmo Convent is located in the Chiado neighborhood, on a hill overlooking the Rossio square and facing the Lisbon Castle hill. It is located in front of a quiet square (Carmo Square), very close to the Santa Justa Lift.
Nowadays the ruined Carmo Church is used as an archaeological museum (the Museu Arqueológico do Carmo or Carmo Archaeological Museum).
Belém Tower (in Portuguese Torre de Belém, or the Tower of St Vincent is a fortified tower located in the civil parish of Santa Maria de Belém in the municipality of Lisbon, Portugal. It is an UNESCO World Heritage Site (along with the nearby Jerónimos Monastery) because of the significant role it played in the Portuguese maritime discoveries of the era of the Age of Discoveries. The tower was commissioned by King John II to be part of a defense system at the mouth of the Tagus River and a ceremonial gateway to Lisbon.
The tower was built in the early 16th century and is a prominent example of the Portuguese Manueline style, but it also incorporates hints of other Architectural styles. The structure was built from lioz limestone and is composed of a bastion and the 30 meter (100 foot), four story tower. It has incorrectly been stated that the tower was built in the middle of the Tagus and now sits near the shore because the river was redirected after the 1755 Lisbon earthquake. In fact, the tower was built on a small island in the Tagus River near the Lisbon shore.
Its plan is composed of a rectangular tower and an irregular, hexagonal bastion, with elongated flanks, that projects south into the river. It is basically a large articulated vertical space resting on a horizontal mass/slab, covered by exterior enclosures. On the north-east angle of the structure, protected by a protective wall with bartizans, there is a drawbridge to access the bulwark, decorated in plant motifs, surmounted by the Royal coat of arms and flanked by small columns, complimented with armillary spheres. The Manueline armillary spheres appear at the tower’s entrance, symbolizing Portugal’s nautical explorations, and were used on King Manuel I’s personal banner to represent Portuguese discoveries during his rule. The decorative carved, twisted rope and elegant knots also point to Portugal’s nautical history and are common in the Manueline style.
On the outside of the lower bastion, the walls have spaces for 17 canons with portholes open to the river and an ocular in the north. The upper tier of the bastion is crowned by a small wall with bartizans in strategic places, decorated by rounded shields with the cross of the Order of Christ that circle the platform. King Manuel I was a member of the Order of Christ and the cross of the Order of Christ is repeatedly used numerous times on the parapets. These were a symbol of Manuel’s military power, as the knights of the Order of Christ contributed to numerous military conquests in that era. The bartizans, cylindrical watchtowers in the corners are cover in zoomorphic corbels and domes covered with buds. The corners of this platform have turrets (guerites) topped by Moorish-looking cupolas. The base of the turrets have images of beasts, including a rhinoceros. This rhinoceros is considered to be the first sculpture of such an animal in Western European artand probably depicts the rhinoceros that Manuel I sent to Pope Leo X in 1515 (which was caged in the tower at one time).
While the tower is prominently Manueline, it also incorporates hints of other architectural styles. The tower was built by the military architect Francisco de Arruda, who had already built several fortresses in Portuguese territories in Morocco. The influence of Moorish architecture manifests itself in the delicate decorations, the arched windows, the balconies, and the ribbed cupolas of the watchtowers.
The Tower has four storeys, with fenestrations and battlements, with the ground floor occupied by a vaulted cistern. On the first floor, there is a south-facing rectangular door, with arched windows in the east and north, and bartizans in the north-east and north-west corners. The southern part of the second floor is taken-over by a covered veranda with matacães (or loggia), constituted by an arcade of seven arches, resting on largecorbels with balusters. It is covered by a lace stonework to form a porch, and its sloped roof ends in a sculpted twisted rope. The eastern, northern and western walls are occupied by double-arch enclosures, with the north-east and north-west corners occupied by statutes of Saint Vincent of Saragossa and the archangel Michael in niches. The third floor has twin-windows in the north, east and west façades, with balusters, interspersed by two armillary spheres and large relief with the Royal coat of arms. The final floor is encircled by a terrace with shields of the Order of Christ, and a northern arched door and eastern arched window. The terrace is circled by a low wall with colonnaded pyramidal merlins with bartizans in the four corners. A similar terrace above this floor offers a view of the surrounding landscape.
The interior part of the bastion cave, with a circular staircase in the north, has two contiguous halls with vaulted ceilings supported by masonry arches, with four lockers and sanitary installations. On the ground-floor bunker, the floor is inclined towards the outside, while the ceilings are supported by masonry pilasters and vaulted spines. Gothic rib vaulting is evident in this casemate, the rooms of the tower and the cupolas of the watchtowers on the bastion terrace. Peripheral compartments on the edges of the bunker, allow the individual canons to occupy their own space, with the ceiling designed with several asymmetrical domes of various heights. The ancillary storerooms were later used as prisons.
Two archways open to the main cloister in the north and south, while six broken arches stretch along the eastern and western parts of the cloister, interspersed with square pillars in the bastion cave, with gargoyle facets. The open cloister above the casemate, although decorative, was designed to dispel cannon smoke. The upper level is connected by a railing decorated with crosses of the Order of Christ, while at the terrace the space is guarded by columns topped by armillary spheres. This space could also be used for light-caliber infantry. This was the first Portuguese fortification with a two-level gun emplacement and it marks a new development in military architecture. Some of the decoration dates from the renovation of the 1840s and is neo-Manueline, like the decoration of the small cloister on the bastion.
On the southern portion of the cloister terrace is an image of Virgin and Child. The statue of the virgin of Belém, also referred to as Nossa Senhora de Bom Successo (Our Lady of Good Success), Nossa Senhora das Uvas (Our Lady of the Grapes) or the Virgem da Boa Viagem (Virgin of Safe Homecoming) is depicted holding a child in her right hand and a bunch of grapes in her left.
The tower is about 12 metres (39 ft) wide and 30 metres (98 ft) tall. On the first floor interior of the Tower is the Sala do Governador (Governors Hall), an octagonal space that opens into the cistern, while in the north-east and north-west corners there are corridors that link to the bartizans. A small door provides access via a spiral staircase to the subsequent floors. On the second floor, the Sala dos Reis (King’s Hall) opens to the loggia (to overlook the river), while a small corner fireplace extends from this floor to the third floor fireplace in the Sala das Audiências (Audience Hall). All three floor ceilings are covered in hollow concrete slabs. The fourth floor chapel is covered in a vaulted rib ceiling with niches emblematic of the Manueline style, supported by carved corbels.
Romanesque Architecture is an architectural style of Medieval Europe characterized by semi-circular arches. This style eventually developed into the Gothic style in the 12th century, characterized by pointed arches. Examples of Romanesque architecture can be found across Europe, making it the first Pan-European Architectural style since Imperial Roman Architecture.
Combining features of Western Roman and Byzantine buildings, Romanesque Architecture is known by its massive quality, its thick walls, round arches, sturdy piers, groin vaults, large towers and decorative arcading. Each building has clearly defined forms and they are frequently of very regular, symmetrical plan so that the overall appearance is one of simplicity when compared with the Gothic buildings that were to follow. The style can be identified right across Europe, despite regional characteristics and different materials. The Romanesque style in England is traditionally referred to as Norman architecture.
Many castles were built during this period, but they are greatly outnumbered by churches. The most significant are the great abbey churches, many of which are still standing, more or less complete and frequently in use. The enormous quantity of churches built in the Romanesque period was succeeded by the still busier period of Gothic architecture, which partly or entirely rebuilt most Romanesque churches in prosperous areas like England. The largest groups of Romanesque survivors are in areas that were less prosperous in subsequent periods, including parts of Southern France and Northern Spain. Survivals of unfortified Romanesque secular houses and palaces are far rarer, but these used and adapted the features found in church buildings, on a domestic scale.
Gothic architecture is most familiar as the Architecture of many of the great cathedrals, abbeys and churches of Europe. It is also the Architecture of many castles, palaces, town halls, guild halls, universities and to a less prominent extent, private dwellings.
A series of Gothic revivals began in mid-18th century England, spread through 19th-century Europe and continued, largely for ecclesiastical and university structures, into the 20th century.
Baroque Architecture, emerged in the 1600’s with a new emphasis placed on bold massing, colonnades, domes, light-and-shade (chiaroscuro), ‘painterly’ color effects, and the bold play of volume and void. In interiors, Baroque movement around and through a void informed monumental staircases that had no parallel in previous architecture. The other Baroque innovation in worldly interiors was the state apartment, a processional sequence of increasingly rich interiors that culminated in a presence chamber or throne room or a state bedroom. The sequence of monumental stairs followed by a state apartment was copied in smaller scale everywhere in aristocratic dwellings of any pretensions.
Baroque architecture was taken up with enthusiasm in central Germany. In England, the culmination of Baroque architecture was embodied in work by Sir Christopher Wren, Sir John Vanbrugh and Nicholas Hawksmoor, from ca. 1660 to ca. 1725. Many examples of Baroque architecture and town planning are found in other European towns, and in Latin America. Town planning of this period featured radiating avenues intersecting in squares, which took cues from Baroque garden plans. In Sicily, Baroque developed new shapes and themes as in Noto, Ragusa and Acireale “Basilica di San Sebastiano”.
Another example of Baroque architecture is the Cathedral of Morelia Michoacan in Mexico. Built in the 17th century by Vincenzo Barrochio, it is one of the many Baroque cathedrals in Mexico.
Francis Ching described Baroque architecture as “a style of Architecture originating in Italy in the early 17th century and variously prevalent in Europe and the New World for a century and a half, characterized by free and sculptural use of the classical orders and ornament, dynamic opposition and interpenetration of spaces, and the dramatic combined effects of architecture, sculpture, painting, and the decorative arts.”
Thomas Cole (February 1, 1801 – February 11, 1848) was an English-born American artist. He is regarded as the founder of the Hudson River School, an American art movement that flourished in the mid-19th century. Cole’s Hudson River School, as well as his own work, was known for its realistic and detailed portrayal of American landscape and wilderness, which feature themes of romanticism and naturalism.
Cole called Turner the prince of evil spirits, and he sought a form of expression for his megalomanic visions that at first sight looks more peaceful. In this painting the excessive size of the capital, on which the architect has reclined in reflection, only becomes clear on closer inspection. However, the reversal of the real conditions is intrinsically threatening, and this is hardly more peaceful than Turner’s chaos.
The Architect’s Dream, 1840, by Thomas Cole (Toledo Museum of Art in Toledo, Ohio, USA).
Other Selected Works
The Garden of Eden (1828)
The Fountain of Vaucluse, 1841, Dallas Museum of Art
L’Allegro (Italian Sunset) (1845)
Il Penseroso (1845)
Did you know that Portugal has it own Roman temple?
Roman Temple of Évora
Check out the following excerpt from Wikipedia.org.
The Roman Temple of Évora (also referred to as the Templo de Diana, after Diana, the ancient Roman goddess of the moon, the hunt, and chastity) is an ancient edifice in the city of Évora, Portugal. The temple is part of the historical centre of the city, classified as a World Heritage Site by UNESCO. It is one of the most famous landmarks of Évora and a symbol of Roman presence in Portuguese territory.
Although the Roman temple of Évora is often called Temple of Diana, any association with the Roman goddess of hunt stems not from archaeology but from a legend created in the 17th century by a Portuguese priest. In reality, the temple was probably built in honour of Emperor Augustus, who was venerated as a god during and after his rule. The temple was built in the 1st century AD in the main public square (forum) of Évora – then called Liberatias Iulia – and modified in the 2nd and 3rd centuries. Évora was invaded by Germanic peoples in the 5th century, and at this time the temple was destroyed. Nowadays its ruins are the only built vestiges of the Roman forum, in an open square fronted by the cathedral and the bishop’s palace.
The ruins of the temple were incorporated into a tower of the Évora Castle during the Middle Ages. The base, columns and architraves of the temple were kept embedded in the walls of the medieval building; the temple-turned-tower was used as a butcher shop from the 14th century until 1836. This new use of the temple structure helped preserve its remains from further destruction. Finally, after 1871, the medieval additions were removed. Restoration work was directed by Italian architect Giuseppe Cinatti.
The original temple was probably similar to the Maison Carrée in Nîmes (France). The Évora temple still has its complete base (the podium), made of both regular and irregular granite stone blocks. The base is of rectangular shape and measures 15 m × 25 m × 3.5 m. The southern side of the base used to have a staircase, now ruined.
The portico of the temple, now missing, was originally hexastyle, six columns across. A total of fourteen granite columns are still standing on the north side (back) of the base; many of the columns still have their Corinthian-style capitals sustaining the architrave. The capitals and the bases of the columns are made of marble from nearby Estremoz, while the columns and architrave are made of granite. Recent excavations indicate that the temple was surrounded by a water basin.