De Chirico and the Theatre

Susanna Yläjärvi, Information OfficerItalian Giorgio de Chirico’s work in the performing arts plays a leading role in Serlachius’ exhibition De Chirico and the Theatre. The work of the renowned artist and avid opera lover will be seen on such a large scale in Finland for the first time.

Giorgio de Chirico (1888–1978) is known for the metaphysical art movement he created in the 1910s. In his works, desolate city views, architectural elements and shadows create a dreamlike atmosphere. Thus, de Chirico is considered one of the most significant innovators of 20th-century painting

The versatile artist was also an avid opera lover, who designed sets and costumes for almost thirty performances during his career. De Chirico and the Theatre presents the artist’s designs for the sets and costumes of the performances, and brings to audiences view finished costumes and sets, as well as paintings and drawings.

The exhibition has been curated by Rome-based artist Hannu Palosuo, stage director Italo Nunziata and curator Cornelia Bujin. Their direct contacts with Roman art institutions and an exceptional perspective on de Chirico’s art have been crucial in obtaining the exhibition for Serlachius.

“When we presented the exhibition idea to the Giorgio and Isa de Chirico Foundation, they were immediately excited. Costumes, sets and sketches designed by de Chirico have been on display. There have been exhibitions that speak about the theatrical landscape of his works, but all of this has never been studied as a coherent whole,” Hannu Palosuo says.

A reformer of opera staging

Two performances seen at the Rome Opera have been selected for the exhibition: Rossini’s Otello and Vincenzo Bellini’s The Puritans, which was originally made for the Florence Opera but was also staged in Rome. The third performance in the exhibition is Vittorio Rieti’s ballet Le Bal, which was originally created for the Monte Carlo Opera but was later seen in Rome.

In 1933, de Chirico planned the set and costumes for the opera The Puritans, which caused a huge scandal. In Paris, the artist had adopted the habit of creating set and costumes as an integral part of the opera’s text and choreography. At that time, the audience at the Florence Opera was not yet ready for it. However, it changed the significance of set design in opera.

Old craftsmanship lives on in the opera of Rome

The artist did not paint the sets he designed himself, but it was done by professional set painters. The Rome Opera has painted sets for Serlachius’ exhibition based on the artist’s sketches and using old working methods.

The costumes designed for performances have also been borrowed from the opera. The ensemble of costumes and costume sketches in the exhibition showcases the traditional craftsmanship that the Rome Opera, as one of the few opera houses in Europe, still maintains and teaches to future professionals.

De Chirico used to borrow costumes from the opera worksop for his grandiose parties. The exhibition features two Baroque costumes borrowed from the opera, next to which are portraits of the artist and his wife Isa. In the paintings, they wear the same outfits. The exhibition also features an old film in which the artist paints a portrait wearing the same costume.

Paintings from the end of his career

Towards the end of his career, Giorgio de Chirico returned to the themes of his youth, making works representing the neo-metaphysical and neo-baroque. The exhibition features a wealth of paintings, drawings and sketches that the artist bequeathed to the de Chirico Foundation. The intense subject matters of the paintings show the influence of the performing arts on the artist’s perception of space.

The atmosphere of the artist’s studio home in Rome has been recreated in one of the rooms. On display are drawings that have never before been presented to the public in any exhibition. The artist drew them while sitting in the opera and observing the audience and the events on stage.

“De Chirico lived his last three decades in Rome, where his influence is still discernible today. He settled in the middle of classical culture near the Spanish Steps, and his home now houses a studio museum maintained by the de Chirico Foundation,” Hannu Palosuo reports.

The author is Information Officer at Serlachius.
The article has been published in the museum’s customer magazine in Finnish language.

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