Destruction of muses or Alarmed virgins or Anxious muses, de Chirico, 1925

Description of the picture:

The destruction of muses – Giorgio de Chirico. 1925. 97×67
"The destruction of muses" – one of the most famous paintings of Giorgio de Chirico. It is also understood under the names "Alarmed virgins" and "Disturbing muses". The first version of the picture appeared in 1917, after which the master made more than 2 10 versions of this work that are slightly different from each other.

The architectonics of the composition is very ordinary and expressive. On the long platform, shown in perspective, the platform, wide, as if the deck of a ship, are two figures in ashes (ancient Greek women’s clothing without sleeves), draped in folds reminiscent of ancient statues. The one on the left has an elongated mannequin head, resembling an airship swaying in the wind. The one sitting on the right lost her head – she lies at her feet, and in her place sticks out something like a shiny pin. Next to these 2 figures or sculptures, the master placed two multi-colored polyhedra and one narrow cylinder, crowned with a red spiral and similar to a fair candy. A wooden podium breaks abruptly in the background. Seen there "red city" – Ancestral d’Este castle in Ferrara, factory buildings with high pipes, a squat white tower. Two central images are represented by vestals guarding Ferrara and embodying the rebellious spirit of this city. In the shadow in the background is a female statue – most likely this is a statue of Hestia, the Greek goddess – the patroness of the hearth.

The artist places the figures on a side, perpendicular to the line of shadows cast by them. The numerous vertical lines that form and organize the composition are opposed by the horizon line indicated by the edge of the platform. De Chirico masterfully uses his excellent knowledge of the classical perspective in order to create the illusion of perspective construction in his works. Combining several points of view, collisions of unexpected angles, dividing the composition into zones, each of which has its own horizon – these are some of the methods that the artist uses to build his own unique metaphysical space. The mysterious nature of what is happening on the canvas is enhanced by the clear and cool atmosphere that prevails in its space. The artist masterfully collides with the archaic character of the sculptural figures and the baroque theatricality of the surrounding stage. This confrontation enhances the monumentality of the canvas.

De Chirico drew inspiration from key sources from several sources. The standing figure resembles a marble statue from the sanctuary of Hera of Samos (located in the Louvre), it looks like a bronze Apollo of Delphi. These sculptures have an artist "borrowed" pattern of folds on tunics. The seated figure, it seems, is inspired by the Sumerian statues from the Louvre collection – they have such folded hands.

"I do not imagine art in a different way. The thought must break away from what we call logic and meaning, free itself from all human attachments, to see objects from a new angle, to highlight their previously unknown features."
Giorgio de Chirico"

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