Giorgio De Chirico 

Giorgio de Chirico, inventor of the metaphysical painting placed under the sign of the revelation, settles in 1911 in Paris.
He first fascinated Guillaume Apollinaire, who in 1913 introduced the artist into his circle - Picasso, Derain, Max Jacob, Braque, Picabia, and so on. - as well as Paul Guillaume, his first merchant. From the early 1920s on...

Giorgio de Chirico, inventor of the metaphysical painting placed under the sign of the revelation, settles in 1911 in Paris.
He first fascinated Guillaume Apollinaire, who in 1913 introduced the artist into his circle - Picasso, Derain, Max Jacob, Braque, Picabia, and so on. - as well as Paul Guillaume, his first merchant. From the early 1920s onyism, the prophetic dimension, the subtle incongruities and the discrepancies observed in the work of Giorgio de Chirico had immediate resonances on the nascent surrealism, from Magritte, Ernst to Picabia and Eluard. André Breton sees in the artist the demiurge of a "modern mythology" in formation (1920) before accusing him of anti-modernist regressions as early as 1926.

Iconoclast, anti-modern, or vaticinator of a fatal Western decline, Chirico was at the origin of the change of "the visual representation of the man" (André Breton, 1937). The Return of Ulysses (1975), rowing in a boat inside a room, which refers to "the vanity of our activity" (Konrad Klapheck, 2009), places the viewer on the threshold of a post-natural world , In a metaphysical theater with false narrative perspectives, "at this hour without a name on the dials of human time. (Giorgio de Chirico, The disturbing hour, poem, Ferrara, 1917).