+ 1 (707) 877-4321
+ 33 977-198-888
English
Français
Deutsch
Italiano
Español
Русский
中国
Português
日本

The Prodigal Son, Oil On Canvas by Giorgio De Chirico (1888-1978, Greece)

FREE Shipping. FREE Returns All the time. See details.

Art Reproduction Fine Art The Prodigal Son - Oil On Canvas By Giorgio De Chirico , Art Reproduction Fine Art The Prodigal Son - Oil On Canvas By Giorgio De Chirico
The Prodigal Son, Oil On Canvas by Giorgio De Chirico (1888-1978, Greece)
Art Reproduction Fine Art The Prodigal Son - Oil On Canvas By Giorgio De Chirico , Art Reproduction Fine Art The Prodigal Son - Oil On Canvas By Giorgio De Chirico

"The Prodigal Son"

Giorgio De Chirico - Oil On Canvas - 59 x 87 cm - 1922 - (Galleria d'Arte Moderna (Milan, Italy))

The Prodigal Son (Italian: Il figliol prodigo) is a painting by the Greek-born Italian artist Giorgio de Chirico. It is painted in tempera on canvas and was completed in 1922 as de Chirico was in transition from the Metaphysical style of his earlier works to the neoclassicism he essayed in the 1920s.
The Prodigal Son was a favourite theme of de Chirico’s, both for the many nuances of significance the subject offers, as well as for the autobiographical references the artist attributed to the theme. In 1917, in the middle of Metaphysical Painting’s high season of development, a drawing of the embrace between two mannequins evokes de Chirico’s first reflection on the theme. The theme was further elaborated at the beginning of the 1920s, at time when the artist began referring to himself as “Pictor classicus” and was conducting research in traditional painting techniques by making copies of Great Master paintings in museums. He discovered oil tempera emulsion, which he believed was the procedure with which the great renaissance masters achieved their masterpieces, and worked exclusively in the technique from 1920 to 1924. Two paintings on the Prodigal Son theme were executed in oil tempera emulsion in 1922 and 1924, each of which presents different and interesting characteristics. The reappearance of the mannequin, which had made its debut in Paris and was further developed in Ferrara, is common to both works. The embrace between the mannequin son and statue father alludes both to the artist’s “rapprochement” to the Museum, as well as a return to his metaphysical inspiration.
In 1975, during the period known as Neometaphysics, de Chirico revisited the theme in this painting, basing its composition on the prototype of the 1917 drawing. In addition to the Renaissance architecture and the same high horizon, we find also find the equestrian monument at the rear and the column on a base in the forefront, two elements which do not appear in the paintings of 1922 and 1924. (S.V.)



This artwork may be protected by copyright. It is posted on the site in accordance with fair use principles

Reproductions or prints are not available for this artwork
We use here Copyright term based on authors' deaths according to Copyright Law, (70 years). 
Artworks protected by copyright are supposed to be used only for contemplation. Images of that type of artworks are prohibited for copying, printing, or any kind of reproducing and communicating to public since these activities may be considered copyright infringement. More



Loading Giorgio De Chirico biography....









 



 



WahooArt.com - Giorgio De Chirico
Arts & Entertainment > Hobbies & Creative Arts > Artwork
A-8XY4SJ----EN-
The Prodigal Son, Oil On Canvas by Giorgio De Chirico (1888-1978, Greece)
/Art.nsf/O/8XY4SJ/$File/Giorgio-De-Chirico-The-Prodigal-Son.JPG
The Prodigal Son (Italian: Il figliol prodigo) is a painting by the Greek-born Italian artist Giorgio de Chirico. It is painted in tempera on canvas and was completed in 1922 as de Chirico was in transition from the Metaphysical style of his earlier works to the neoclassicism he essayed in the 1920s. The Prodigal Son was a favourite theme of de Chirico’s, both for the many nuances of significance the subject offers, as well as for the autobiographical references the artist attributed to the theme. In 1917, in the middle of Metaphysical Painting’s high season of development, a drawing of the embrace between two mannequins evokes de Chirico’s first reflection on the theme. The theme was further elaborated at the beginning of the 1920s, at time when the artist began referring to himself as “Pictor classicus” and was conducting research in traditional painting techniques by making copies of Great Master paintings in museums. He discovered oil tempera emulsion, which he believed was the procedure with which the great renaissance masters achieved their masterpieces, and worked exclusively in the technique from 1920 to 1924. Two paintings on the Prodigal Son theme were executed in oil tempera emulsion in 1922 and 1924, each of which presents different and interesting characteristics. The reappearance of the mannequin, which had made its debut in Paris and was further developed in Ferrara, is common to both works. The embrace between the mannequin son and statue father alludes both to the artist’s “rapprochement” to the Museum, as well as a return to his metaphysical inspiration. In 1975, during the period known as Neometaphysics, de Chirico revisited the theme in this painting, basing its composition on the prototype of the 1917 drawing. In addition to the Renaissance architecture and the same high horizon, we find also find the equestrian monument at the rear and the column on a base in the forefront, two elements which do not appear in the paintings of 1922 and 1924. (S.V.)
Giorgio De Chirico
Oil On Canvas
Oil On Canvas
-- -- -- -- -- -