What is Metarealism ?

          In July 1911, a young Italian artist named Giorgio de Chirico made his way to Paris, to seek his fame and fortune. During the next eight years, he was to become one of the most influential painters of the Twentieth Century. His art, which was later called "Metaphysical", was to profoundly influence Surrealists, Magic Realists and Fantastic Realists for many generations to come.

         The young de Chirico, born in Greece, had moved to Munich in 1906, where he studied art at the  Academy of Fine Arts. There he studied the philosophies of Nietzsche and Schopenhauer and was initial attracted to the paintings of Arnold Boecklin . In 1908 he moved with his family to Italy where he found the inspiration for many of his early paintings in the piazzas of Florence, Turin and other Italian cities. Called the "Enigma" series, these paintings portrayed dreamlike, moody and mysterious cityscapes.

         Metaphysical in the conventional sense refers to aspects of the world beyond and or of the ideal. This might refer to the art of William Blake, Odilon Redon or even Edward Burne-Jones. However, de Chirico's concept of Metaphysical art came from Nietzche, who saw the mystery of life emanating from everyday objects. The role of the artist was to portray the chaotic or nonsensical reality of the world. De Chirico referred to this as an ironic form of the Metaphysical . Rather than being mystical or transcendental, de Chirico's work is perplexing, cryptic and evocative.

         There were three phases in the development of de Chirico's art . The initial "Enigma" paintings (also called Piazza d'Italia series) included an iconography such as trains, ships, clocks and statues, which was highly metaphoric. Gradually other  less obvious objects and mannequins incorporated were into his compositions in an intermediate phase. Finally, during his military assignment in Ferrara in 1917, de Chirico formed Pittura Metafisica with Carlo Carra . Paintings of this period were typically claustrophobic interiors filled with arcane objects, many of them found in and around medieval Ferrara. Other artists who became closely involved with de Chirico and Carra during this period were Giorgio Morandi, Mario Sironi and Fillipo de Pisis.

         De Chirico's original vision was to fuse ancient myth with modern pictorial techniques. Yet around 1920 he became interested in the "Return-to-Order" trend that was sweeping through Europe. He studied the Old Masters and attempted to reinvent himself as a classical painter. During the rest of his career, he alternated between academic and Metaphysical approaches.

         Metaphysical art refers to a type of art that captures the mysterious in life. It is less about content, more about creating a mood.  De Chirico compared his approach to one of poetics as compared with prose (narrative art). A number of artists during the twentieth century have been inspired in the same way. Each was interested in exploring deep emotional reservoirs within all of us. As a group they may be called Metarealists. Each used a mature pictorial style, based on Realism, but adapted to the individual artist's Weltanschauunge (worldview). Metarealism may be used to refer to many types of art after 1920 which were influenced by de Chirico.

         In addition to those artists associated with de Chirico in Ferrara, a number of Post World War artists were influenced by his Metaphysical art . Notably, the early work of Max Ernst, Rene Magritte and Salvador Dali derive their enigmatical tone  from de Chirico. Each became an important figure in the Surrealist movement . Dali's work, in particular, adapted an atmosphere from early de Chirico. The work of these artists continued to be informed by de Chirico's trailblazing throughout their careers. Additionally, the compositions of Pierre Roy in France and Edward Wadsworth in England show many influences from de Chirico. Also, de Chirico's brother, Alberto Savinio, began painting in the mid 1920s, contributing fresh, invigorated Metaphysical visions.

         Edward Hopper can be considered a painter of Metarealism . His paintings capture the feelings of loneliness of the Depression era . Although an American realist, he was profoundly effected by studies in Europe prior to World War I . His work shares with de Chirico the economical rendering of forms and the use of theatrical lighting. But more importantly his work shares the brooding mood with the early Metaphysical art .

      Although he is often referred to as a Surrealist, Paul Delvaux thought of himself as a Classicist . He was exposed to the art of de Chirico in the mid 1930s and was profoundly influenced. His paintings can be considered as elaborate mise en scène, with the actors and actresses (often nude) participating in dreamlike plays. Delvaux had a long and productive career, during which his art evolved but still maintained a relatively small number of themes, mostly based in his experiences as a child and young adult .

      Kay Sage, who is usually identified with Surrealism, was greatly influenced by de Chirico. Her fanciful landscapes are wistful and highly evocative. The work of her husband, Yves Tanguy, although typically leaning toward abstraction, carries the mood of Metarealism . Tanguy, who had no formal training as a painter, had become inspired when he saw a painting by de Chirico in a visit to Paris in 1922.

         Another artist who can be identified with Metarealism is Rudolph Hausner. He was initially interested in Surrealism, but soon broke away from the organized movement . His art, which was once called "Physic Realism" (or "Psychoanalytical Realism"), often featured his own likeness, in not so flattering detail, and in many complex environments. Much of his work has an expansive spatial atmosphere reminiscent of early Metaphysical art, while others have the cornucopia of objects found in the Ferrara phase. Hausner often uses similar iconography to de Chirico.

         Contemporary artist Claude Lazar explores the somber side of the city of Paris. He studied cinematic art after graduating from Fine Art school, but returned to easel painting a few years later. His work is full of dramatic light and shadow, which is reminiscent of the era of Film Noir. His art has the feeling of French Realism of the  1930s and 40s, including Balthus, but its strongest influence comes from directly from Edward Hopper.

          Metarealism might not be considered as a formal art movement, but as at the very least, it is an artistic current that has existed since the Middle Ages. Elements can be found in the art of  Paolo Uccelo, in Mantegna, in the perspective of Piero della Francesca, in Da Vinci's Madonna of the Rocks and Mona Lisa, in  Giorgione, in Goya, in Fernand Khnopff and also in work of  Henri Rousseau. But it was de Chirico who brought it into the world of modern art .

Email: dreams@tendreams.org.