Because of the date of this latter work, T04109 and 'The Transformed Dream' (St. Louis Art Museum, repr. In the arc there is still something unaccomplished which needs to be and can be completed: it still permits presentiment' (quoted in Soby 1956, p.40). Voici une oeuvre de Giorgio de Chirico que j'ai illustrée d'un poème  Sur une place mélancolique et grise. Le lecteur a le choix de jouer et de voir au-delà de l’œil du créateur et, à partir de ses mots, de reproduire aussi son propre tableau comme artefact littéraire. Purchased from the executors of Sir Roland Penrose (Grant-in-Aid) with assistance from the National Art-Collections Fund (Eugene Cremetti Fund), the Carroll Donner Bequest, the Friends of the Tate Gallery and members of the public 1985, Sold by the artist to Paul Guillaume, Paris from whom bt by Paul Eluard, Paris 1922 by whom sold to Roland Penrose, London 1938. , Galerie Paul Guillaume, Paris, March-April 1922, (4 as 'L'incertitude du poète'); , Hayward Gallery, Jan.-March 1978 (1.6, repr. cat. Max Ernst Werke 1929-1938, Cologne 1979, p.77 no.1713). This was reproduced in the catalogue of the exhibition 'Max Ernst' held at the Galerie Vignon in Paris in 1930 (repr. or in archaelogical texts such as Saloman Reinach's Répertoire de Ia Staruaire grèque et romaine, published in several volumes 1897-1930. ; Jean Clair, 'Dans la terreur de l'histoire', in. Les outils de la reproduction de tableau. Maurizio Fagiolo dell'Arco has suggested as a source for de Chirico's preoccupation with the rounded arch Böcklin's painting 'Arcades in a Landscape', 1872 (repr. Toute la subtilité du poème réside dans ce côté répétitif de ce vers de trois syllabes dont l'isolement reflète l'incertitude du poète, son angoisse et sa solitude. In 1919 de Chirico wrote, 'Schopenhauer advised his fellow countrymen not to place the statues of their famous men on high columns or on pedestals, but on low plinths, "as they do in Italy, where some marble men seem to be on a level with the passers-by and seem to walk beside them" ' ('Sull'arte metafisica', Valori Plastici, nos.4-5, 1919, p.17 quoted in Soby 1956, p.35). Over the top of the wall we glimpse a train and the mast of a ship which appear to symbolise the voyage of the mind or soul beyond the terrain of the known and familiar. From reading Otto Weiniger's theories of the metaphysical implications of geometry de Chirico became interested in the idea that geometrical shapes symbolised eternal values and could be seen as clues to the existence of a hidden order. cat. Their images of mysterious and often melancholic figures, drawn typically from mythological tales, can be seen as the forerunners of de Chirico's seemingly anxious and weary statues. The imagery of 'The Uncertainty of the Poet' - fruit and a classical cast, mysteriously juxtaposed in front of a shadowy arcade - is typical of the so-called 'metaphysical' phase of de Chirico's work in the period 1911-14. cat. Le choix de ces images est sexuellement motivé, mais peut aussi être dû à des souvenirs de promenades nocturnes avec Guillaume Apollinaire. - invented by the Romans. In all this there is something more mysteriously plaintive than in French architecture. 2. And in all this, technique plays no role; the whole sensation )], de Chirico, New York 1968, pl.29; Catalogo Generale Giorgio de Chirico: Opere dal 1908 al 1930, Rome 1976, vol.1, no.13, as 'L'incertezza del poeta'; Giorgio de Chirico "Le rêve de Tobie": un interno ferrarese, 1917 e le origini del Surrealismo, Rome 1980, p.62 no.78, as 'L'Incertitude du poète'; Bryan Robertson, John Russell, Lord Snowdon, Private View, 1965, p.32; [Maurizio Fagiolo dell'Arco (ed. Arcaded passages of the style depicted by de Chirico, however, can be found in Munich and, in particular, in Turin, a city about which Soby records that its arcades are 'so extensive that a local author has written a book tracing a full day's walk which may be taken without once leaving their protective shade' (Soby 1956, p.35). Certainly Magritte and Eluard came to know each other well during this period, and would remain in touch, sometimes collaborating and creating dialogues through their respective works. In a. A. Bates in a letter to the Tate Gallery dated 6 October 1978 suggests that a source for the motif of a long wall may have been the perimeter wall surrounding Volos, the small town in Greece where de Chirico spent his childhood. Like the earlier images of statues, the plaster casts functioned as symbols of the human presence, from which the temporal and transient aspects had been stripped, and can be seen as an important element in the artist's rejection of naturalism. La volonté d'assumer sa vulnérabilité et de l'embrasser détermine la profondeur du courage et la clarté du but. cat., Kimbell Art Museum, Fort Worth 1984, front cover in col.). In conversation with Richard Francis of the Tate Gallery in 1984 Penrose said of this cast, 'it was well known in Paris. p.148 in col.); , Haus der Kunst, Munich, Nov.1982- Jan.1983, Musée national d'art moderne, Centre Georges Pompidou, Paris, Feb.- April 1983 (11, repr. Tate Gallery Acquisitions 1982-4, 1986, p.300). Elements of the imagery of T04109 are found in a number of de Chirico's works of the mid 1910s and later. . Les fruits et légumes sont représentés ici avec beaucoup de détails, le paysage en arrière-plan peut même être décrit comme lyrique. Reference to a poet is found in other titles of de Chirico paintings, for example, 'The Departure of the Poet' 1914 (private collection, repr. And in all this, technique plays no role; the whole, The anti-naturalism of de Chirico's paintings was perhaps most clearly signposted in his abandonment of traditional. Cette expression est interprétée comme une invitation à jouir de l’ins… The mast shown above the wall in 'The Uncertainty of the Poet' can be seen as related to this earlier image of heroic departure. cat. A. Bates, who has visited Volos, writes, 'this wall is about 6ft high and runs straight and level for about 500 yds. 1. Another source of de Chirico's preoccupation with classical statuary lay in his love of Turin. Leçons. Le poète est loin de l’imitation et cependant très proche d’une écriture symbolique qui parle à tout un chacun, selon son degré d’implication et d’intuition. (col.); Matthew Gale, 'The uncertainty of the painter; De Chirico in 1913', Burlington Magazine, vol.130, April 1988, pp.273-5. La senteur subtile du coucou (poésie) 2016. )], Conoscere De Chirico: La vita e l'opera dell'inventore della pittura metafisica, Milan 1979, p.91, repr. Apollinaire was so close to the artist that it is believed he titled some of de Chirico's paintings of this period. Freely available in Paris, this cast featured in works by other artists. When de Chirico left France to join the Italian army in May 1915, most of his recent paintings were left in the hands of his dealer. cat. Maurizio Fagiolo dell'Arco relates the bananas, which first appeared in de Chirico's paintings in 1913, and the palm trees in works of the previous year, to Italy's invasion of Libya in 1911. The main difference in the imagery of the two paintings is that in the later work there is no train or ship's mast to be glimpsed beyond the wall. T04109 passed to Roland Penrose in 1938 when Paul Eluard sold him a large part of his collection of leading contemporary artists (for list of works see Gateau 1982, pp.359-60). Drôle d’occupation (roman) 2020 423 (col.), as 'Torment of the Poet'; Jean-Charles Gateau, Paul Eluard et la peinture surréaliste (1910-1939), Geneva 1982, p.94. He passed through the city en route from Florence to Paris in 1911 and although he stayed there for only a few days the neo-classical arcaded squares and abundant statuary made a lasting impression on him. Jean-Charles Gateau believes that it is likely that Eluard acquired this painting in the autumn of 1922 when he had returned from a second trip abroad and had renewed his friendship with Breton from whom he had been temporarily estranged (Gateau 1982, p.95). Introduced into de Chirico's work in 1913, images of plaster casts allowed the artist to depict the human figure as part of a still-life arrangement, in scale and interest no more significant than, for example, the fruit beside it. The poet Paul Eluard wrote: ‘these squares are outwardly similar to existing squares and yet we have never seen them ... We are in an immense, previously inconceivable, world.’. cat., Kimbell Art Museum, Fort Worth 1984, front cover in col.). The long brick wall depicted in T04109 is found in a number of paintings by de Chirico in this period, often also with trains and ships in the background. ; Robert Bedlow, 'Tate spends £1m on painting Lord Gowrie rejected', Daily Telegraph, 2 April 1985, p.19 repr. In contrast, the passing train and perishable bananas suggest a sense of the contemporary and immediate. , 27 April 1935, quoted in Paris 1983, p.254). There is no evidence, however, that de Chirico read or was interested in the writings of Freud, for example, and thus any discussion of the extent to which the artist was conscious of the sexual symbolism of the other elements of this painting, for example, the train and arcades, appears to be, The arcade shown in the right hand side of. This presentiment of something beyond everyday appearances was an essential element in the atmosphere of nostalgia and longing created in de Chirico's 'metaphysical' pictures. cat., Galleria Nazionale d'Arte Moderna, Rome 1982, I, p.32). 1982, p.142) and 'The Transformed Dream', 1913 (St Louis Museum of Art, repr. does not reveal a picture; but in this case the picture will not be a faithful copy of that L'incertitude par Epervier. cat. For de Chirico the image of the arcade was both real and, in its simple form of lines and volumes, a metaphor of something unchangeable'. Always that size'. Although he also used unexpected colours, such as in T04109 emerald green for the sky, de Chirico relied heavily on drawn outlines to create images that appeared preternaturally real and, at the same time, strangely insubstantial in order to create the sense of enigma he desired. Another source of de Chirico's preoccupation with classical statuary lay in his love of Turin. Dans les œuvres de la période du début du XIXe siècle, de Chirico trouve assez souvent des images de bananes. ibid. 1982, p.148) are conventionally thought to have been painted in the winter of 1913 (see Matthew Gale 1988, p.273). Découpée par le grand et brun losange . His father died when de Chirico was eleven and this may account for the artist's typically child-like depiction of trains. Baldacci has suggested that the conjunction in de Chirico's works of the modern and the antique (even if mediated by recent academic art) reflects the influence on the artist's thought of Nietzsche and his concept of an eternal present in which there is no fundamental distinction between past and future (p.23). 1982, p.34). Exposition G. de Chirico, Galerie Paul Guillaume, Paris, March-April 1922, (4 as 'L'incertitude du poète'); Giorgio de Chirico, London Gallery, Oct. 1938 (3); The Early Chirico, London Gallery, April-June 1949, (2); Dada and Surrealism Reviewed, Hayward Gallery, Jan.-March 1978 (1.6, repr. (eds.)] Photographs showing the painting hanging on the wall of Penrose's farmhouse in Sussex are reproduced in Roland Penrose 1981, p.198 fig.493 and in Bryan Robertson, John Russell, Lord Snowdon, Private View, 1965, p.32. The shrouded figure in Böcklin's 'Ulysses and Calypso', 1883 (repr. Giorgio de Chirico, L’incertitude du poète, 1913, huile sur toile, 106 x 94 cm, Tate, acheté avec l'aide du Fonds Art (Fonds Eugene Cremetti), du legs Carroll Donner, des Amis de la Tate Gallery et du public en 1985 Photo:©Tate, London 2019 © SABAM Belgium 2019. Giorgio de Chirico (1888-1978) L’Incertitude du poète, 1913, Huile sur toile - 106 × 94 cm Londres Tate Photo : Tate Voir l´image dans sa page. explores the life and times of a work in the Tate …. In support of this he cites a reference in a contemporary manuscript by de Chirico to 'African feeling' and the 'happiness of the banana tree, luxury of ripe fruits, golden and sweet' (Tate Gallery exh. cat. Paolo Baldacci in 'Le Classisme chez Giorgio de Chirico: Théorie et méthode', (, , Paris, no.11, 1983, pp.18-31) has shown that where de Chirico used a classical model in his paintings he copied not the originals in museums but illustrations in manuals of, or in archaelogical texts such as Saloman Reinach's. James Soby has noted that the prevalence of statuary in Turin was likely to have confirmed the painter's respect for Schopenhauer's essay 'On Apparitions' (Soby 1956, p.35). Contrasting his paintings with the naturalism, or attention to the surface reality of things, found in the works of the Impressionists and Cubists, de Chirico wrote of the relationship between reality and a linear transcription of it in a manuscript dated 1911-5: A picture reveals itself to us, while the sight of something L'incertitude, le risque et les émotions de tous les jours ne sont pas des options. At the time of the opening of the exhibition in March the poet Paul Eluard was away in Düsseldorf and returned to Paris only in May. Always that size'. In this context it is often noted that de Chirico spent his childhood in Greece. Giorgio de Chirico : « L’Incertitude du poète », 1913, huile sur toile – Tate, Londres « Avec cette toile Giorgio de Chririco poursuit l’exploration d’associations visuelles incongrues. Dans “L’incertitude du poète”, un tas de bananes semble sortir du sein féminin ou, inversement, s’en approcher. The Uncertainty of the Poet Hisham Bustani, conteur de l’incertitude. The origins of de Chirico's use of classical statuary lie partly in his fascination with the work of Arnold Böcklin and Max Klinger which he saw whilst studying at the Academy of Fine Arts in Munich in 1905-10. 1982, p.155 in col.). The Roman arcade is a fatality. There is no evidence, however, that de Chirico read or was interested in the writings of Freud, for example, and thus any discussion of the extent to which the artist was conscious of the sexual symbolism of the other elements of this painting, for example, the train and arcades, appears to be post hoc , published in several volumes 1897-1930. Tate Gallery exh. p.22); , Tate Gallery, Aug.-Oct. 1982, (no number, repr. Le seul choix possible est une question d'engagement. Oil on canvas 1060 x 940 (41 3/4 x 34) Magritte may well have seen L’incertitude du poète when he lived in Paris in the late 1920s and early 1930s, at which time it was owned by the poet Paul Eluard. The flatness of de Chirico's handling of volumes, together with his imagery's air of irreality, prompted some critics in 1914 to liken his pictures to theatrical scenery. The mystery de Chirico found in the arcade appears to have been suggested to him partly by its simple geometrical form. p.184; René Passeron. Roland Penrose (1900-84), an English artist and critic who lived in France in the late 1920s and early 1930s and who later acquired T04109, purchased a similar plaster cast in 1935. 1981, p.17 no.8, as 'Ulysse et Calypso'), for example, was quoted directly by de Chirico in 'Enigma of the Oracle'. ., p.17 no.9) and appears there as isolated and motionless as any statue or cast. L’ambiguïté de ce rêve se traduit par un balancement entretristesse et consolation. It is possible that the 'golden and sweet' bananas of T04109 fulfilled a similar function and, together with the cast of a female torso, were meant to offer a contrast in their physicality and appeal to the senses to the idea of a voyage, intellectual or spiritual, symbolised by the train beyond the distant wall. The wind-filled sails of such a ship was a much-repeated motif in de Chirico's pre-War works and was often associated with the figure of Ariadne, represented generally as a classical statue. , 1981, pp.169-70, fig. Emporter par la tempéte et les vents. Le musée de l'Orangerie revient sur les années les plus radicales de Giorgio de Chirico, celles où il a inventé le langage singulier de sa peinture "métaphysique" (jusqu'au 14 décembre).