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Giorgio De Chirico
Giorgio de Chirico, Mysterious Cabin, from XXe siecle, 1938
1938

Name: Giorgio de Chirico, Mysterious Cabin, from XXe siecle, 1938
Brand: Giorgio De Chirico
Price: 657.2 CHF
Availability: InStock
Rating: 4.9 (70 reviews)

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About the Item

This exquisite linocut by Giorgio de Chirico (1888–1978), titled Cabina Misteriosa (Mysterious Cabin), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Sommaire du no. 4, Noel, 1938, originates from the 1938 edition published by Gualtieri di San Lazzaro, editeur, Paris, in collaboration with Societe Internationale d'Art XXe siecle, Paris, and printed by Mourlot Freres, Paris. Cabina Misteriosa captures de Chirico’s enigmatic architectural imagination and metaphysical sensibility, merging classical structure and dreamlike mystery into a composition that reflects both timeless stillness and philosophical depth. Executed as a linocut on velin paper, this work measures 12.5 × 9.75 inches (31.75 × 24.77 cm). Signed in the plate and unnumbered, as issued. The edition exemplifies the superb craftsmanship of Mourlot Freres, Paris. Artwork Details: Artist: Giorgio de Chirico (1888–1978) Title: Cabina Misteriosa (Mysterious Cabin), from the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Sommaire du no. 4, Noel, 1938 Medium: Linocut on velin paper Dimensions: 12.5 × 9.75 inches (31.75 × 24.77 cm) Inscription: Signed in the plate and unnumbered, as issued Date: 1938 Publisher: Gualtieri di San Lazzaro, editeur, Paris, in collaboration with Societe Internationale d'Art XXe siecle, Paris Printer: Mourlot Freres, Paris Condition: Well preserved, consistent with age and medium Provenance: From the album XXe siecle, Chroniques du jour, 13 rue Valette (5e), Directeur G. di San Lazzaro, Sommaire du no. 4, Noel, 1938, published by Gualtieri di San Lazzaro, editeur, Paris About the Publication: Gualtieri di San Lazzaro's XXe Siecle (Twentieth Century) was one of the most influential art journals of the modern era, founded in Paris in 1938 as a platform for the greatest painters, sculptors, and writers of the 20th century. San Lazzaro, a visionary editor, critic, and champion of modernism, believed that art and literature should coexist as expressions of a shared human imagination. Under his direction, XXe Siecle became a cultural bridge between Europe and the wider world, publishing special issues devoted to leading figures such as Picasso, Matisse, Chagall, Braque, Calder, Miro, Kandinsky, and Leger. Each edition combined essays by renowned critics and poets with original lithographs printed by the foremost ateliers of Paris, including Mourlot, Arte, and Bellini, creating a uniquely rich dialogue between text and image. Through XXe Siecle, San Lazzaro preserved the creative spirit of the avant-garde during and after World War II, championing freedom of expression and the evolution of abstraction, Surrealism, and modern thought. Over nearly four decades, the journal shaped international taste and defined the intellectual landscape of postwar art publishing. Today, XXe Siecle remains celebrated for its extraordinary synthesis of art, literature, and design, an enduring testament to Gualtieri di San Lazzaro's belief that the visual arts are the soul of the modern age. About the Artist: Giorgio de Chirico (1888–1978) was an Italian painter, writer, and philosopher whose revolutionary imagination and metaphysical vision transformed the trajectory of modern art and laid the foundation for Surrealism. As the founder of the Metaphysical Art movement, de Chirico created haunting dreamscapes filled with classical statues, endless arcades, long shadows, and vacant piazzas that embodied the mystery of existence and the philosophy of the unconscious. Born in Volos, Greece, and trained in Athens, Florence, and Munich, he was deeply influenced by the writings of Friedrich Nietzsche and Arthur Schopenhauer, whose meditations on metaphysical doubt and eternal recurrence profoundly shaped his aesthetic. Moving to Paris in 1911, he entered the avant-garde circle that included Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, quickly distinguishing himself with paintings that combined the structure of classical art with the atmosphere of a dream. His early masterpieces—The Enigma of the Hour (1911), The Mystery and Melancholy of a Street (1914), and The Song of Love (1914)—redefined painting as a philosophical act, inspiring the Surrealists and revolutionizing modern aesthetics. Salvador Dali, Joan Miro, Max Ernst, Yves Tanguy, and Rene Magritte all cited de Chirico as a key influence, while Andre Breton hailed him as “the prophet of a new art of dreams.” His metaphysical cityscapes, painted during his time in Ferrara, reflected the stillness and alienation of modern life and deeply influenced Alberto Giacometti’s sculptural forms, Alexander Calder’s abstract constructions, and Man Ray’s enigmatic photography. Throughout his long career, de Chirico remained a restless innovator, turning in the 1920s and 1930s toward the techniques of the Old Masters—Titian, Rubens, and Ingres—while continuing to explore the interplay of irony, identity, and time in self-portraits and mythological scenes. His writings, especially Hebdomeros (1929), fused art, philosophy, and autobiography, positioning him as one of the rare artists whose ideas were as significant as his images. De Chirico’s influence extended far beyond Surrealism, shaping the work of Francis Bacon, Giorgio Morandi, and later artists such as Andy Warhol and Julian Schnabel, while his sense of metaphysical space informed the cinematography of Michelangelo Antonioni and Andrei Tarkovsky. His works are now housed in major institutions worldwide, including MoMA, Tate Modern, the Centre Pompidou, and the Peggy Guggenheim Collection. Standing alongside Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, Giorgio de Chirico remains a cornerstone of 20th-century art—a painter-philosopher whose vision united antiquity and modernity, dream and reason, intellect and enigma. His highest auction record was achieved by Il rimorso di Oreste (Orestes’ Regret) (1969), which sold for $15.9 million USD at Sotheby’s, New York, on May 16, 2023, reaffirming his enduring importance as one of the most visionary, intellectually profound, and collectible artists in modern art history. Giorgio de Chirico Cabina Misteriosa (Mysterious Cabin), de Chirico XXe siecle, de Chirico 1938 linocut, de Chirico Mourlot, de Chirico velin paper, de Chirico Metaphysical Art, de Chirico collectible print.

Creator:
Giorgio De Chirico (1888-1978, Italian)
Creation Year:
1938
Dimensions:
Height: 12.4 in (31.5 cm)Width: 9.65 in (24.52 cm)
Medium:
Linocut
Movement & Style:
Modern
Period:
1930-1939
Condition:
Gallery Location:
Southampton, NY
Reference Number:
1stDibs: LU1465216659782

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Giorgio De Chirico

The progenitor of metaphysical painting — a dreamlike, realist style embracing sharp contrasts, sculpted forms and odd juxtapositions — Giorgio De Chirico profoundly influenced many Surrealist artists of his time. His early sculptures and paintings explored the complexities of the mind and reflected his affinity for contemporary European philosophy and Freudian psychoanalysis. Even though the metaphysical movement lasted only a brief time, he left a strong impression on such legendary surrealists as Salvador Dalí, René Magritte and André Breton.

De Chirico was born in Volos, Greece, to Italian parents. His father was a Sicilian baron and engineer in charge of constructing a railroad in Greece at the time of his son’s birth. In his late teens, De Chirico studied art at various institutions in Athens and Florence. After his father died, in 1905, he enrolled in the Munich Academy of Fine Arts. Here, he discovered the writings of Friedrich Nietzsche and Arthur Schopenhauer that would help to shape his future works.

In 1909, De Chirico moved to Milan and then to Florence a year later, where he began experimenting with what would become his metaphysical style. After moving again, this time to Paris in 1911, his brother Alberto Savinio helped him get several small exhibitions of his work that eventually were noticed by Pablo Picasso and the poet Guillaume Apollinaire — and his paintings began to sell.

De Chirico was conscripted into the Italian Army in 1915 but was diagnosed with a mental disorder — likely anxiety — and sent to a military hospital where he met fellow artist Carlo Carrà. Together, they devised the metaphysical painting style that consisted of fantastical images of low-lit town squares uninhabited except for marble sculptures, dummies and stretched shadows, purposefully portrayed with flattened surfaces and warped perspectives.

By the 1920s, De Chirico’s style began incorporating Renaissance and Baroque elements, and later works, from the 1960s and ’70s, brought together neoclassicism, Surrealism and ancient mythology. His art is in major museum collections across the world, including the Tate Museum of Modern Art, in London; the Peggy Guggenheim Collection, in Venice; and the Metropolitan Museum of Art, in New York.

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Giorgio De Chirico
original linocut, 1938

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Trovatore tra le Nubi - Lithograph by Giorgio de Chirico - 1973

By Giorgio De Chirico

Located in Roma, IT

"Trovatore tra le nubi" is a hand-signed lithograph realized by Giorgio de Chirico in 1973. Numbered, edition of 110. Good conditions with slight folding on the lower and very sma...

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