Il figliol prodigo | |
---|---|
English: The Prodigal Son | |
Artist | Giorgio de Chirico |
Year | 1922 |
Medium | Tempera on canvas |
Dimensions | 87 cm× 59 cm(34 in× 23 in) |
Location | Galleria d'Arte Moderna, Milan |
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 [1] as de Chirico was in transition from the Metaphysical style of his earlier works to the neoclassicism he essayed in the 1920s. [2] The biblical subject matter is interpreted by de Chirico as a stone effigy of a father placing his hand on the shoulder of a mannequin representing the son. [3] The dimensions of the painting are 87 by 59 centimeters. It is housed at Museo del Novecento, Milan, Italy. [4]
A mannequin is an often articulated doll used by artists, tailors, dressmakers, windowdressers and others especially to display or fit clothing. The term is also used for life-sized dolls with simulated airways used in the teaching of first aid, CPR, and advanced airway management skills such as tracheal intubation and for human figures used in computer simulation to model the behavior of the human body. During the 1950s, mannequins were used in nuclear tests to help show the effects of nuclear weapons on humans.
Giorgio de Chirico was an Italian artist and writer born in Greece. In the years before World War I, he founded the scuola metafisica art movement, which profoundly influenced the surrealists. His most well-known works often feature Roman arcades, long shadows, mannequins, trains, and illogical perspective. His imagery reflects his affinity for the philosophy of Nietzsche and for the mythology of his birthplace.
Katherine Linn Sage, usually known as Kay Sage, was an American Surrealist artist and poet. She was active between 1936 and 1963. A member of the Golden Age and Post-War periods of surrealism, she is mostly recognized for her artistic works, which typically contain themes of an architectural nature.
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The Nostalgia of the Infinite is a painting by the Italian metaphysical painter Giorgio de Chirico.
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Alberto Savinio[alˈbɛrto saˈvinjo], born Andrea Francesco Alberto de Chirico was an Italian writer, painter, musician, journalist, essayist, playwright, set designer and composer. He was the younger brother of 'metaphysical' painter Giorgio de Chirico. His work often dealt with philosophical and psychological themes, and he also was heavily concerned with the philosophy of art.
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The Melancholy of Departure (1916) is a painting by the Greek-Italian metaphysical painter Giorgio de Chirico. This painting was created after de Chirico returned to Italy from Paris to join the Italian Army in World War I.
The Elephant Celebes is a 1921 painting by the German Dadaist and surrealist Max Ernst. It is among the most famous of Ernst's early surrealist works and "undoubtedly the first masterpiece of Surrealist painting in the de Chirico tradition." It combines the vivid dreamlike atmosphere of Surrealism with the collage aspects of Dada.
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The Giorgio de Chirico Art Centre is an art centre/museum in a three-story building in Volos, Magnesia, Greece. It is named for internationally famous Italian artist Giorgio de Chirico, who was born to Italian parents in Volos on July 10, 1888.
Georgios Roilos was one of the most important and influential Greek painters of the late 19th-early 20th century. He belonged to the so-called "Munich School". His major works include historical topics, portraits, and scenes of everyday life. One of his most famous paintings is “The Poets”, which depicts some of the most important representatives of the New Athenian school of poetry, also known as the Generation of 1880.
Mario Tozzi was an Italian painter. He was awarded the Legion of Honour by the French government.
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Ariadne is a 1913 painting by Greco-Italian artist Giorgio de Chirico. Done in oil and graphite on canvas, the painting depicts the mythical figure Ariadne as she lays sleeping in an empty public square; this is in reference to the myth that birthed the character, in which Ariadne is abandoned on Naxos by her lover Theseus. According to sources provided by the Metropolitan Museum of Art, this reflects de Chirico's personal feelings of isolation after moving to Paris in 1911.