De Chirico painted several portraits of his second wife, Isabella, but, by and large, this genre was never particularly attracted to him. An exception to this rule was a series

On the “Self-portrait in the Garden” the artist presented himself in a 17th-century costume. It stands in the Versailles garden, elegant and refined – a marble vase with gilding, a

“Destruction of the Muses” is one of the most famous canvases by Giorgio de Chirico. It is also known under the names “Alarmed Maidens” and “Anxious Muse”. The first version

The fact that the surrealists declared de Chirico to be their forerunner is quite logical. His “dream” paintings are very close to surrealism. At the same time the works of

During the First World War, in 1917, de Chirico serves in a hospital in Villa del Seminario near Ferrara. There he also gets acquainted with artists, like him, drafted into

This unusual painting de Chirico echoes with his other “metaphysical” canvases. Her character has almost no eyebrows, forcing to recall the bust of “Portrait of Guillaume Apollinaire.” Closed eyes of

“Melancholy and the mystery of the street” is the most famous work not only de Chirico, but also the whole trend in art, called “metaphysical painting.” The picture was studied

A special reality, consisting of objects of various shapes and textures, producing impressions of a welter against the backdrop of desert landscapes creating a new metaphysical world, vibrating on the

De Chirico is the poet of the city, but the city is very strange. It is quite obvious that the images of his urban landscapes have some personal significance for

This is the typical “metaphysical” work of de Chirico, which is an attempt through a set of real images to reveal the “magical” meaning of being. The urban landscape here

In 1927-1928 de Chirico repeatedly turned to the theme of archeology. Coinciding in time with the “gladiator” cycle, the cycle “archaeological” also appeals to theatricality and spectacular reflection of reality.

This work arose during the first stay of de Chirico in Paris in the summer of 1911, when, having presented his works at the Autumn Salon and the Salon of

Such works are completely incomprehensible, although de Chirico’s hand is recognized without difficulty; the author’s evidence is evidenced by undoubted indexes in the form of the artist’s favorite images. At

In 1912-1913, de Chirico created several canvases depicting typical Italian city squares. During this period, de Chirico tries to philosophically comprehend the surrounding reality, it is occupied by riddles, mysteries,