The essay explores the origins of Giorgio de Chirico’s Baroque period, linked to his renewed interest in Old Masters’ techniques and sacred painting between the late 1930s and early 1940s. Works such as The Good Samaritan, The Ascent to Calvary, and Christ and the Storm are examined alongside his writings on sacred art, in which he denounces artistic decay, the horrors of war, and Nazi crimes, developing a painting style marked by intense civic awareness.
Il saggio analizza l’origine del periodo barocco di Giorgio de Chirico, legato alla riscoperta della tecnica dei maestri antichi e al crescente interesse per la pittura sacra tra fine anni Trenta e primi Quaranta. Opere come Il buon samaritano, La salita al Calvario e Cristo e la Tempesta sono messe in relazione ai suoi scritti sull’arte sacra, dove denuncia il degrado artistico, gli orrori della guerra e i crimini nazisti, sviluppando una pittura di intensa coscienza civile.
La rivelazione della grande pittura. Il periodo “barocco” di Giorgio de Chirico e il ritorno all’arte sacra
lorenzo canova
2024-01-01
Abstract
The essay explores the origins of Giorgio de Chirico’s Baroque period, linked to his renewed interest in Old Masters’ techniques and sacred painting between the late 1930s and early 1940s. Works such as The Good Samaritan, The Ascent to Calvary, and Christ and the Storm are examined alongside his writings on sacred art, in which he denounces artistic decay, the horrors of war, and Nazi crimes, developing a painting style marked by intense civic awareness.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
