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Curating the Eternal Return: Giorgio de Chirico’s Piazza d’Italia con statua (1937)

Springer, Anna Magdalena
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Abstract
Chronological display is a fundamental feature of the public art museum, creating a distinct pathfor the visitor to follow as they walk through the history of art. Recent scholarship in the field ofmuseum studies has drawn the use of chronology in museum or exhibition display into focus, reevaluatingthe positive and negative aspects of the historical narrative. Given that much ofGiorgio de Chirico’s (1888-1978) Metaphysical Art embodies the reconceptualization of time,the analysis of the exhibition of his work throughout the past century allows for the study of howthe concept of time, and chronology, is addressed curatorially in permanent displays andtemporary exhibitions. An analysis of how de Chirico’s paintings have been inserted into variousnarratives and exhibition chronologies in selected Italian and foreign museums will providecomparative material, particularly from institutions like the Galleria Nazionale d’Arte Moderna eContemporanea in Rome and the Museum of Modern Art in New York, which have famously (orinfamously) abandoned the use of chronology as an organizational structure for their collectionsand exhibitions. Piazza d’Italia con statua, a painting created in 1970 but inscribed by de Chiricowith the date 1937, acts as a focal point for this analysis of his exhibition history and thereception of his work, from which a close exploration of the agency of the curator and that of anartwork itself can be made.
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Master of Arts in Art History -- John Cabot University, Spring 2022.
Date
2022
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Keywords
Giorgio De Chirico, 1888-1978, Metaphysical school (Art movement), Piazza d'Italia -- Souvenir d'Italie II (Giorgio De Chirico, 1888-1978)
Citation
Springer, Anna Magdalena. "Curating the Eternal Return: Giorgio de Chirico’s Piazza d’Italia con statua (1937)". Master's Thesis, John Cabot University, Rome, Italy. 2022.
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