Index

Merjian, Ara H.

Save Cite Share

Free

Index

Ara H. Merjian

Giorgio de Chirico and the Metaphysical City: Nietzsche, Modernism, Paris

Index

Author

Ara H. Merjian

PublisherYale University Press

https://doi.org/10.37862/aaeportal.00059.012

Stable URL: https://aaeportal.com/?id=-18592

Index

À quelle heure part le train pour Paris?, 67, 73, 297n3, 304n116

absence: and Metaphysical representations of architecture, 7, 85, 174, 179, 213, 225, 235

as structural element of Metaphysical imagery, ix, 7, 18, 24, 76, 109, 115, 163, 174, 179, 198, 213, 239, 243, 256, 295n137, 308n178, 312n132; see also silence

abstraction, 5, 9, 42, 46–47, 84, 174, 216, 258, 267, 274, 284n59

and Metaphysical painting, 9, 41–42, 174, 216, 258, 274

and Nietzschean philosophy, 285n67

and the Parisian avant-garde, 5, 9, 84, 216, 274

Adorno, Theodor, 294n114, 300n43, 338n20

Africa, as trope in Metaphysical theory, 105–07, 322n74

African art see art nègre

agoraphobia: as inaccurate description of Metaphysical space, 60; see also claustrophobia

Albert, Henri, 4, 18–19, 290n66, 310n13

Alberti, Leon Battista, 59

Allain, Marcel, 143; see also Fantômas

altars, 18, 171, 182, 187, 213, 232, 244; see also divination; haruspexy

Altar of the Lares, 187, 189

amor fati see fatality

Anaximander, 323n104; see also pre-Socratic philosophy

L’Antitradition Futuriste, 42, 35; see also Apollinaire, Guillaume

Antliff, Marc, 291n82, 292n87, 307n150, 311n36, 324n118

aphorism, 4, 24, 59–61, 86, 161, 174, 179, 201, 214, 294n114

use by Heraclitus, 17, 86, 161, 174, 179, 201, 214

relationship to horizon, 59–60, 294n117; see also Heraclitus

pre-Socratic philosophy, influence upon Nietzsche, 4, 22, 24, 40, 166, 216

Apollinaire, Guillaume, xiv, 2, 5, 9, 11, 32, 41–43, 45, 51, 53, 55, 63, 67, 73, 76, 79, 81, 83, 110, 111, 121, 124, 136, 138, 141–43, 146–47, 152, 154–55, 159–60, 162, 174, 175, 184–85, 192–94, 211, 222, 224–27, 232, 246–47, 253, 257, 261–64, 267–69, 273

L’Antitradition Futuriste, 42, 35

as champion of abstraction, 41, 55

and collaboration with Savinio on À quelle heure part le train pour Paris?, 67, 73

and The Cubist Painters, 124, 247, 263–64, 288n33

as early supporter of de Chirico, 43, 45, 76, 83, 121, 142; La fin de Babylone, 184

and mannequin motif, 224–25, 262–64; poetry by, 138, 141, 142, 154, 211

and simultaneity, 136

Apollo, 77–79, 182, 222, 238, 247, 260, 304n105, 328n41, 334n108

Apollo Belvedere, 213, 241

Apollonius Rhodius (Apollonius of Rhodes), 238, 282n38; see also Argonautica

Aragon, Louis, 68–69, 101, 128, 142, 144, 152–54, 162, 215, 275

architecture, 1, 2, 7–8, 69, 75, 24–27, 88–89, 94, 96–99, 102, 113, 117–19, 131, 150–51, 156, 158–59, 164, 174, 186–87, 190, 196, 205, 213

Craig, E. Gordon, and, 251

and de Chirico, Evaristo, 67, 222

diagram of in The Seer, 6, 219, 222, 228, 256, 259, 271

and Fascism, 69, 269, 271, 296n153, 336n9

and humanism, 174, 196

and mannequin figures, 219–20, 226, 230, 257–61

and modernism, 98–99

and Nietzschean metaphors, 4, 7–8, 22, 27, 41, 50, 86, 111, 119, 135, 138, 150–51, 159, 164–65, 167

and philology, 186

prominence in Metaphysical painting, 1, 2, 7–8, 11, 17, 24–25, 26–27, 38, 41, 73, 76, 86, 88–89, 94, 96–99, 102, 109, 113, 117–19, 128–29, 131, 135, 138, 148, 150–51, 156, 158–59, 162–65, 167, 174, 186–87, 202, 210, 213, 244, 246, 251, 257–61, 264, 268–69, 272, 274–75

and ritual sacrifice, 186–87

Argonautica, 238, 243, 282n38, 328n41

Argonauts, 12, 25, 74, 105, 191, 195, 226, 238, 242, 247, 251, 281n32

Ariadne, 6, 18, 32–35, 95, 96, 99, 100, 116, 191, 225, 240, 258, 263–64, 286n9

and Nietzsche’s writing on, 6, 191, 263–64; see also de Chirico: Ariadne, Ariadne’s Afternoon, Piazza with Ariadne, The Silent Statue

“aristocratic radicalism” of Nietzsche, 11, 51, 281n29; see also Brandes, George

Aristotle, 58, 161, 329n47

art nègre, 25, 43, 175–76, 216, 229, 232, 246–47, 262, 264, 319n10

de Chirico and Savinio’s disparagement of, 175–76, 263

artichokes, 95

and Horatian allusion, 107

and The Philosopher’s Promenade, 107–08

astronomy, 174, 184, 203–04, 207, 222; see also Kratzer, Nicolaus

Atget, Eugène 95, 245–46, 302n70

Artichoke seller, 83; Boulevard de Strasbourg, 216

Athens, 13, 118, 123, 136, 182, 190, 205, 208

and de Chirico’s childhood, 123, 190, 205

Auerbach, Erich, 167

Augustus (Roman emperor), 93, 185, 189, 208

as augur, 189

augur, augury, 25, 26, 32, 124, 138, 165, 171, 179–80, 182–83, 184–85, 187–89, 208, 219, 221, 320n38

as trope in Metaphysical painting, 25, 26, 138, 165, 171, 179–80, 182–83, 187–89, 196, 208, 219, 213–14, 219, 221, 242, 248, 265, 318n5; see also Etruscans, Etruria; lituus; templum

Aule Lecu, 182, 206; see also Etruscans, Etruria; haruspexy

Avenue de l’Opéra, Paris, 90

Babylonia: religious practices of, 180–81, 184, 188, 208, 241

Baldacci, Paolo 6, 38, 62, 135, 156, 279n15, 280n20, 281n28, 282n35, 282n38, 284nn58–59, 285n60, 288n31, 291n78, 291n81, 293n112, 294n124, 296n150, 301n53, 301n66, 303n95, 305n126, 305n130, 308n177, 310n10, 316n104, 318n3, 320n39, 321n62, 322n89, 325n130, 325n10, 325n15, 330n56, 331n83, 336n134

Balkan Wars, 11, 104, 114, 271

proximity to de Chirico’s native Thessaly, 11, 114

Banania (drink), 105, 106, 305n119, 90

Bardi, Angelo, heteronym of Giorgio de Chirico, 297n2, 298n14, 319n22, 321n61, 323n92

Barnes, Albert, 286n6, 316n120

Barthes, Roland, 201, 283n50, 295n137, 323n94

Basler, Adolphe, 251, 333n97

Bastille (fortress): as metaphor in Metaphysical theory, 49, 52, 56, 164

Bataille, Georges, 296n158

Baudelaire, Charles, 100, 147, 254, 307n151, 307n152, 314n71

Baugin, Lubin, 160; Nature morte à l’echiquier, 134

Benjamin, Walter, 100–101, 302n70, 303nn86–87, 303n92

Bennet, Léon, 200; see also Verne, Jules

Benso, Camillo see Cavour, Count of

Bergson, Henri, 3, 54, 113, 119, 212, 324n118

Bernhard, Lucian, 144

Billy, André, 159

Bizet, Georges, 107

Blanche, Jacques-Émile, 35

blindness: and association with prophetic powers in Metaphysical aesthetics, 63, 78, 104, 118, 222, 238, 285n62, 325n5, 328n41, 334n108

and Nietzsche, 63, 118, 132, 195

Boccioni, Umberto, 35, 46, 113, 212, 247, 249, 264, 307n151, 331nn82–84

Böcklin, Arnold, 9, 16, 17, 42, 87–88, 136–37, 139, 191, 198, 239, 251, 260, 286n6, 321n62

Centaur at the Village Blacksmith’s, 87–88, 136, 139, 72

Odysseus and Calypso, 16, 191, 239, 12

Prometheus, 260

Bohn, Willard, 6, 223, 224, 225, 279n15, 282n38, 291n79, 297n3, 312n54, 319n11, 325n5, 325n9

Bonaparte, Louis-Napoléon (Napoléon III), and Metaphysical iconography, 94, 229, 301n67

Bramante, 194; Heraclitus and Democritus, 161

Brancusi, Constantin, 232

Brandes, George, 281n29

Braun, Emily, 284n59, 302n70, 336n6

Breton, André, 2, 43–44, 69, 94, 104, 142, 262

Brockway, Fredrick, 271

Burckhardt, Jacob, 49, 308n179

Caillebotte, Gustave, 92, 93; Paris Street; Rainy Day, 92, 81

Calchas (Argive seer and augur), 182, 186, 213

Caligrammes, 138, 142, 154, 211, 263, 299n30; see also Apollinaire, Guillaume

Calvesi, Maurizio, 6, 286n6, 314n76, 320n27

Carrà, Carlo, viii, 46, 53, 56–58, 63, 103, 154, 288n39

Interventionist Demonstration, 56, 42

Cavour, Count of (Camillo Benso), 19, 57, 62–65, 69, 94, 197, 295n133, 296n151, 298n13, 301nn66–67, 45; see also Risorgimento

Cendrars, Blaise, 143, 247, 311n39, 313n59

Cézanne, Paul, 35, 37–38, 43, 46, 55–56, 61, 94, 102, 254–55, 289n50, 291n75, 334n113, 334n115

The Large Bathers, 227

Still life with Plaster Cupid, 35, 31

Chaldea: religious practices of, 181, 184, 188

Chants de la mi-mort (Songs of Half-death), 224, 232, 240, 260, 291n84, 310n13, 322n90, 325n9; see also mannequin; Savinio, Alberto

chess: as trope in Metaphysical painting, 143, 158

as linguistic metaphor for Saussure, 158

The Civilization of the Renaissance of Italy, 49; see also Burckhardt, Jacob

Claesz, Pieter, 129

Breakfast piece with herring, shrimps, roll, saltcellar, claret glass and halved orange, 113

Clark, T.J., 292n84, 299n32

Claude see Lorrain, Claude

claustrophobia: as inaccurate description of Metaphysical interior space, 60, 129, 168; see also agoraphobia

clocks, 73, 74, 76, 110, 135, 174, 204, 207, 209, 212, 307n164; see also clocks, portable

gnomon; Kratzer, Nicolaus; sundials

clocks, portable, 207, 209

Cobb, Russell, 243

Cocteau, Jean, 143, 272

collage, 56, 145–46, 149, 151–56, 162

de Chirico’s painted versions of, 53, 128–29, 136, 151–56, 162, 164, 257

de Chirico’s response to, 5, 9, 35, 42, 48, 53, 128–29, 151, 156, 162

and Nietzschean philosophy, 164, 166–67

Collignon, Maxime, 242, 259

color, philosophical and affective inflections of, 190–96

and Salon criticism, 55, 192

Confédération générale du travail (C.G.T.), 96

Coquiot, Gustave, 32, 96–97, 99, 100, 110

Cubistes, futuristes, passéistes, 32, 22

Cortès, Édouard-Léon, 102–03, 110

Place de Rennes le soir, 88

Cottom, Daniel, 264, 336n138

Courbet, Gustave, 215

influence upon de Chirico, 87, 137

de Chirico’s writing on, 87, 137

Cours élementaire de Julien, 243

Craig, Edward Gordon, 28, 226, 248–56, 264, 332nn90–94, 333n97, 333nn100–101, 333n103, 222, 223

study of Nietzsche, 250–51, 255, 264, 333n101, 333nn103–04

and Über-marionette, 226, 251–52, 254–56, 332n92, 333n100, 334n107

Crete, 24, 99, 179, 190, 327n30, 328n36, 328n38; see also Knossos, palace of

Crevel, René, 44, 269

Cronache d’attualità (journal), 228–29, 194

Cubism, 5, 25, 32, 35, 42, 46, 53–56, 58, 61, 84, 86, 99, 103, 113, 133, 152, 155, 211, 232, 247, 248–49, 250, 264

Craig, E. Gordon’s disparagements of, 248–49, 250, 255

de Chirico’s assimilation of, 35, 42, 67, 99, 128, 136, 142, 152, 255, 280n24, 200n38

de Chirico’s differences from, 53, 54–56, 61, 128, 155, 211, 280n25, 291n84, 307n151

Cubistes, Futuristes, Passéistes, 32

The Cubist Painters, 124, 247, 263–64, 288n33; see also Apollinaire, Guillaume

D’Annunzio, Gabriele, 68, 278n6, 292n95

D’Ors, Eugeni, 51, 64, 69, 291nn76–77, 292n95

Da Costa Meyer, Ester, 113, 306n149

Dada, 10, 53, 68, 71, 89, 153, 162, 164, 216, 262, 265

Dada (journal), 216, 184

Dadaco (journal), 265, 235

Daedalus, as first architect and sculptor, 232, 234–35, 247, 327n29

daemon, 144, 174, 196, 207, 211, 213, 220, 261, 327n30; see also Heraclitus

Dalí, Salvador, 46, 151–52, 212, 269–70

Red Tower (Anthropomorphic Tower), 269, 239

Sewing Machine with Umbrella, 141, 128

Damisch, Hubert, 286n6

Danti, Ignazio, 208, 323n108

Danto, Arthur, 47

Darwin, Charles, 63–64, 295nn134–35

de Chirico, Andrea see Savinio, Alberto

de Chirico, Evaristo, 12, 19, 22, 94, 96, 174, 200, 205, 242, 67

de Chirico, Gemma, 281n35

de Chirico, Giorgio: apoliticism of, vii, 71

aristocratic affinities, 19, 51, 56, 59, 62, 66, 160, 295n133

aristocratic descent of, 13

birth and childhood of in Greece, 12–13, 18, 23, 53, 75, 78, 144–45, 205, 238, 242, 295n133

chronic illness of, 15

and Greek community in Paris, 32

identification with Nietzsche, 13–17, 24, 28, 173–74

nationality of, 13–14, 69

Savinio, Alberto, collaboration with, 2, 73–75, 135, 145, 225, 236–39, 304n115, 310n13, 325n9

Wagner, disparagements by, 26

World War One, service in, viii, 31, 263; DRAWINGS: “Cavourian Enigma,” 64, 46

drawing for The Joy of Return, 60, 44; “Étude de gant,” 100, 122

preparatory drawing for Gare Montparnasse (Place d’Italie avec bananes), 117, 98

study for a Metaphysical composition in perspective with hand, 155, 130

study for The Enigma of Fatality, 122, 101

study related to Still Life: Turin Spring, The Destiny of the Poet, and The Fête Day, 231, 195a, 195b

study related to The Red Tower, 66, 48

study with statue of a politician and shadow of a smokestack, 98, 84

NOVELS: Hebdomeros, 88, 101, 267, 273, 298n16, 300n39

Monsieur Dudron, 283n48; PAINTINGS: The Anguishing Morning, 32, 34–35, 38, 40, 42, 44, 48, 53, 59, 61, 70–71, 89, 97, 152, 202, 268, 271, 23, 41

The Anxious Journey, 35, 41, 47, 48, 64, 89, 94, 95, 117, 136, 149, 197, 28

Ariadne, 34, 35, 42, 64, 80, 260

Ariadne series, 6, 18, 32–33, 34–35, 95, 99, 100, 116, 233, 260

Ariadne’s Afternoon, 60, 136

Autumnal Meditation, 32, 187, 236, 24, 188

Battle of the Centaurs, 26, 190, 195, 158

The Child’s Brain, 11, 18, 41, 64, 197, 205, 222, 231, 173

The Delights of the Poet, 41, 135, 207

The Departure of the Argonauts, 195, 242, 214

The Departure of the Poet, 35, 42, 62, 64, 109, 30

The Destiny of the Poet, 18, 94, 121, 122, 126

The Disquieting Muses, 241, 244, 258, 210

The Double Dream of Spring, 221, 257–58, 187, 231

The Duo, 64, 234–35, 257, 261, 201, 203

The Endless Voyage, 188, 210, 188, 190

The Enigma of a Day, 6, 32, 34, 38, 40–44, 47, 56–57, 59, 60, 61, 62, 64, 67, 69–71, 97, 102, 109, 117, 121, 148, 152, 202, 268, 21, 33, 37

The Enigma of Fatality, 6, 11, 25, 27, 41, 121–69, 172, 174, 195, 209, 234, 244, 268, 271, 313n58, 316n105, 99, 106

The Enigma of the Arrival and the Afternoon, 27

The Enigma of the Horse, 6, 40, 222, 4

The Enigma of the Oracle, 17, 26, 60, 62, 174, 219, 237, 269, 13

Evil Genius (series), 173, 180, 182, 184, 197, 209, 211, 320n34, 322n89

The Evil Genius of a King, 11, 18, 27, 28, 35, 48, 60, 89, 92, 100, 117, 152, 160, 171–217, 239, 268, 271, 318n3, 320n27, 324n121, 140, 174

The Fatal Light, 234, 259, 232

The Fatal Temple, 5, 27, 156, 180, 195, 316n105, 133

The Fête Day, 92, 94, 113, 126, 292n94, 80

Furniture in the Valley, 128, 159, 115

Gare Montparnasse, 5, 11, 28, 40, 42, 44, 47, 59, 61, 64, 73–119, 128, 144, 149, 152, 172, 202, 207, 234, 268, 273, 297n3, 298n13, 300n44, 307n164, 55, 74, 236

The General’s Illness, 160, 171, 172, 175, 180, 183, 209, 216, 142

The Great Metaphysician, 244, 230

Hector and Andromache, 235, 260

I’ll Be There . . . The Glass Dog, 196, 222, 162

The Jewish Angel, 187, 234, 258, 200

The Joy of Return, 62

The Joys and Enigmas of a Strange Hour, 97

The Language of the Child, 163, 137

The Lassitude of the Infinite, 32, 34, 60, 80, 97, 25

The Melancholy of a Beautiful Day, 17, 197, 219, 288n34, 14

The Melancholy of Departure, 152, 168

The Melancholy of the Afternoon, 64

Metaphysical Composition, 187, 155a, 155b

Metaphysical Triangle with Glove, 138–39, 120

Morning Meditation, 97

Mystery and Melancholy of a Street, 11, 42, 109, 195, 269, 238

The Nostalgia of the Infinite, 41, 44, 61, 64, 97, 117, 121, 300n44, 170

The Nostalgia of the Poet, 222

Orpheus the Tired Troubadour, 256, 229

The Philosopher’s Promenade, 107, 242, 260, 92

The Playthings of the Prince, 180, 262

Premonitory Portrait of Guillaume Apollinaire, 11, 152, 262, 226

Procession on a Mountain, 294n124

Prometheus, 260, 233

The Purity of a Dream, 138, 257, 119

The Red Tower, 41, 62, 66, 89, 109, 122, 149, 197, 269, 288n34, 295n143, 34, 240

The Return of the Poet, 41, 122

The Return of Ulysses, 129, 114

The Sailors’ Barracks, 89, 113, 117, 160, 171, 172, 180, 187, 197, 207, 209, 239, 319n26, 323n102, 141, 182

The Seer, 6, 11, 18, 27, 48, 60, 67, 89, 97, 187, 188, 202, 210, 219–65, 269, 326n15, 185, 186, 188, 199

Self-portrait, 15, 118, 10

Self-portrait with Double, 1, 27, 230, 1

Serenade, 135, 187, 208, 117

The Serenity of the Scholar, 6, 63, 126, 128, 131, 132, 138, 142, 208, 316n104, 109

The Silent Statue, 64, 96

The Song of Love, 11, 60, 64, 121, 124, 128, 142, 153, 155, 164, 213, 241, 260, 309n2, 129

The Soothsayer’s Recompense, 44, 64, 105, 148, 207, 160

The Span of Black Ladders, 122, 152–53, 180, 196, 241, 163

The Sphinx, 26, 190, 260, 159

Still Life: Turin Spring, 18–24, 35, 62, 89, 92, 94, 117, 121–22, 126, 231, 6, 18

Still Life (with Salami), 129, 112

The Surprise, 148–49, 28

The Torment of the Poet, 242, 189

The Tower, 95, 100

The Transformed Dream, 285n60

The Uncertainty of the Poet, 60, 64, 105

The Vexations of the Thinker, 95–96

War, 152

De Man, Paul, 284n54

De Pisis, Filippo, 333n97

De Pourtalès, Guy, 283n45, 308n170, 322n73

Debord, Guy, 271

Decamps, Alexandre-Gabriel, 226–27

The Monkey Painter, 227, 191

Deecke, Wilhelme, 181, 319n27

Delacroix, Eugène, 127, 184, 321n55

The Justice of Trajan, 111

Delaunay, Robert, 35–36, 41, 55, 89, 216, 292n86, 295n143, 331n75

Saint-Séverin No. 3, 35, 29

della Francesca, Piero, 34, 45–46, 67, 68, 131, 259

Deleuze, Gilles, 61

Delos, 239, 241, 329n52, 330n56

Delphi, 17, 75, 76–78, 86, 94; see also oracle; prophecy

democracy: disparagement of in Nietzschean philosophy, 49–50, 56, 58, 290n70

and perceived formal counterparts in modernist form, 55, 58, 64; see also socialism

Desargues, Girard 208

Manière Universelle de Monsieur Desargues pour pratique la perspective, 208, 180

dialectics, 24, 49

de Chirico’s pictorial resistance to, 53–54, 129, 164

difference from Heraclitean aphorism, 59, 338n20

and modernist pictorial strategies, 53–54, 66, 85, 156

Nietzsche’s philosophical opposition to, 8, 37, 61, 104, 153, 166, 186, 190, 272, 311n30, 338n20

Diogenes Laertius, 160, 311n33, 323n104

Dionysus, 3, 22, 66, 77, 179, 241–42, 263–64, 304n105, 314n67, 318n134, 332n93

Dioscuri, 12, 74, 186, 328n41

Diotima, 182

divination, 27, 86, 180, 182, 185, 188, 197, 207, 209–10, 238, 246, 320n27; see also augur, augury; haruspexy; oracle; prophecy

Dodds, E.R., 177

La Domenica del Corriere, 54

Donatello, 131

Donohue, A. A., 225, 232, 326n11

dream: Freudian theories of, 118–19

misidentified as governing trope of Metaphysical painting, vii, 10, 26–27, 101, 102, 118–19, 164

Du Cubisme see “On Cubism”

Duchamp, Marcel, viii, 162, 288n33, 317n131

Duhamel, Georges, 141, 312n52

Dürer, Albrecht, 205, 248, 324n121

The Economist, 243

Einstein, Carl, 2, 58, 214, 246, 331n75

Enlightenment, 49, 217, 226, 326n12

Ephesus, Ephesians 17, 160, 162, 179, 200; see also Heraclitus

Ernst, Max, 68, 70, 296n150, 313n59

Two Children Are Threatened by a Nightingale, 68, 51

Untitled (Fiat modes pereat ars), 68, 53

“Essai sur les apparitions” see Schopenhauer, Arthur

Eternal Recurrence see Eternal Return

Eternal Return, Nietzsche’s theory of, 5, 118, 129, 132, 133–40, 148–49, 153–54, 167, 237, 239, 264, 272, 311n32

and collage, 128–29, 166–67

and Metaphysical painting, 133–40, 145, 148–49, 153–54, 237, 264, 272, 331n73

Etruscans, Etruria, 25, 32, 124, 174, 180–82, 185–89, 190, 206–07, 213, 233, 238, 242, 245, 253

Euclid see geometry

Evans, Arthur, 99, 191, 303n83

evil, as trope of Nietzschean philosophy, 189–90

factories, 9, 77, 79, 81, 96, 142, 144–45, 156

in Metaphysical imagery, 9, 196, 142, 144, 145, 156, 302n76

Fagiolo Dell’Arco, Maurizio, 5, 99, 105, 175, 279n15, 279n17, 281n28, 295n143, 304n115, 318n9, 319n11, 319n26

Fantômas, 142–43, 184, 313n59, 121

Fascism, Italian, viii, 68–70, 189, 296n151, 296n153, 296n157, 337n9

Fascist architecture see architecture

fatality: as concept in Metaphysical aesthetics, 52, 64, 121, 127–28, 138, 147

as trope of Nietzschean philosophy, 128, 135, 159

Fegdal, Charles, 124–26, 144, 310n9; see also Les Vieilles enseignes de Paris

Ferrara, 31, 67, 142, 263, 268

de Chirico’s painting in, 60, 152, 163, 168–9, 182, 200–202, 205, 258

Figuier, Louis, 189–200

La terre avant le deluge, 198–99

Flint, William Russell: The Argonauts, 239, 251, 208

Flaubert, Gustave, 283n51

Florence, 2, 9, 208, 226, 254, 334n113

as de Chirico’s metaphorical birthplace, 14, 34

de Chirico’s residency in, 2, 9, 14, 73, 179, 236, 249

and Quattrocento painting, 34

forgetting, as method of Metaphysical aesthetics, 18, 108, 110–15, 118

in Nietzschean philosophy, 110–15, 118; see also subtraction

Foucault, Michel, 283n49

Frazer, James George, 179, 327n25

Free indirect style, and de Chirico’s presumed shared consciousness with Nietzsche, 24, 283n51

Fresnaye, Roger de La, 116, 144

Freud, Sigmund, 26, 66, 118–19, 153, 159

influence by Nietzsche, 26, 119, 159

Futurism, 35, 42, 46, 53, 55–58, 96, 103, 109, 112–13, 154–55

de Chirico’s relationship to, 35, 53, 55–58, 103, 112–13, 154–55, 250

Gale, Matthew, ix, 65, 197, 298n13, 301n66, 308n178, 315n85, 322n84

Galérie Paul Guillaume see Guillaume, Paul

Gare de Lyon, 75, 76, 56

Gare Montparnasse see Montparnasse

Garibaldi, Giuseppe, 63, 295n133, 314n66; see also Risorgimento

Gartz, Fritz, 9, 15, 176, 214, 328n40, 329n48, 329n52

library of, consulted by de Chirico, 328n40

Gast, Peter see Köselitz, Heinrich

Gauguin, Paul, 25, 28, 35, 37, 105, 107, 247, 294n124, 331n82

The Meal (The Bananas), 89

Portrait of Jacob Meyer de Haan, 35, 32

Genoa, 19, 283n45, 305n121

geometry, 41, 46, 127, 131, 142, 161, 178, 187, 205, 208, 212, 300n38

non-Euclidean practice of among the avant-garde, 46, 212, 338n27

George, Waldemar, viii, 49, 96, 154–55, 290n61, 302n70, 302n73, 315n102, 337n12

Gere, Cathy, ix, 191, 303n83, 303n84, 321n57, 321n58

Gilliéron, Émile, 190–91, 321n57

Gleizes, Albert, 54–55, 292n87

gnomon (sundial), 25, 208–10, 261, 323n104, 323n107, 323n109

The Golden Bough, 179; see also Frazer, J. G.

Gothic, Gothicness, 100, 144, 174, 303n87

de Chirico’s use as epithet, 99

El Greco (Doménikos Theotokópoulos), Saint Luke Painting the Virgin and Child, 193

Greco-Roman tradition, 25, 40, 118, 153, 186, 247

de Chirico’s perversions of, 25, 186

Nietzsche’s perversions of, 105–07, 177–79; see also humanism; orientalism; primitivism

Greenberg, Clement, 9, 46–47, 71, 84, 89, 211, 274, 280n26, 290n53, 295n137, 300n37

Gris, Juan, 133, 143, 161

Fruit Dish and Carafe, 136

Guillaume, Paul, 6, 28, 67, 110, 147, 175, 227, 261

as de Chirico’s dealer, 67, 110, 147, 175, 227

as collector of art nègre, 175, 246

friendship with Apollinaire, 175, 246, 261–62

Guttuso, Renato, 215, 338n28

haruspexy (divination by sheep liver), 26, 174, 180–84, 187, 188, 190, 206, 213

Apollinaire’s lyrical invocation of (“Per te praesentit aruspex”), 184

and The Evil Genius of a King, 180–84; see also augur, augury; divination

Hausmann, Raoul, 317n132

Haussmann, Georges-Eugène, 82; see also Haussmannization

Haussmannization, 18, 44, 79, 81–83, 89–95

and Metaphysical painting, 79, 81–83, 89–95, 116

and Nietzsche’s writings in Turin, 116

Heartfield, John, 275, 317n132

Hebdomeros see de Chirico, Giorgio: novels

Hegel, Georg Wilhelm Friedrich, 85, 215–16, 300n38

Heidegger, Martin, 304n106

hepatomancy see haruspexy

Heraclitus, 17, 58–59, 60, 62, 104, 134, 144, 148, 160–62, 165, 174, 177–79, 190, 194, 201, 209, 213–15, 279n115, 294n114, 300n43, 304n106

influence on de Chirico, 17, 60, 104, 144, 160–62, 174, 177–79, 190, 201, 209, 213–15, 279n115, 294n114, 300n43, 313n62, 324n110, 324n124

influence on Nietzsche, ix, 17, 58–59, 104, 134, 148, 160–61, 165, 177–79, 190, 194, 208, 280n20, 294n114, 311n33, 317n123, 321n54, 321n71, 322n80, 324n110, 324n124; see also aphorism; pre-Socratic philosophy

Hermafrodito (Savinio), 292n93, 304n104, 304n116, 309n7, 337n15

Hermes (Mercury), 23, 24, 78, 86, 124, 126, 127, 144, 317n126

as bearer of kerykeion staff, 23, 78, 127, 317n126

as mythical messenger, 124, 126, 144, 268

Hersey, George, 186

hierarchy: as concept in Nietzschean philosophy, 55–56, 61, 154, 294n126

and relationship to Metaphysical perspective, 66, 71; see also dialectics

Höch, Hannah, 317n132

Holbein, Hans, The Younger, 25, 203–07, 212, 324n121

The Ambassadors, 204, 175

Portrait of Nicolaus Kratzer, 203–07, 212, 172, 178

homelessness: as existential metaphor in Nietzschean philosophy, xv, 159

Homer, 12, 25, 78, 167, 190–91, 216, 237, 239, 245, 260

identified as “primitive poet” by de Chirico, 25, 158

and Nietzsche’s writings, 216

visionary blindness of, 78, 222

Homeric Hymns, 78, 191, 298n18

Horace, 107

Nietzsche’s writing on, 194

humanism, 174, 178, 180, 196, 198–99, 216, 226, 243, 265

Husson, Paul, 75, 81–82, 85, 97–98, 117

Montparnasse, 66

La Quotidienne Aventure, 65

Vitrines, 65

Hymnus ad Romam, 185; see also Pascoli, Giovanni

iconography, ix, 10, 38, 51, 126, 200, 219, 251, 264, 286n6, 310n10

as limitation in interpretation of Metaphysical aesthetics, ix, 38, 264, 326n12

ideology, and Metaphysical painting, ix, 7, 10, 38, 48, 49–71, 57, 71, 100, 153, 271, 290n73, 302n70

illness, and de Chirico’s identification with Nietzsche, 15, 194

Impressionism, 51, 98, 102, 254, 292n95

and de Chirico’s opposition to, 51, 66, 98, 102, 254, 280n24, 307n151

infinity, 18, 96, 39–40, 61, 137

de Chirico’s aesthetic defiance of, 18, 40, 96, 137, 159, 210

as fiction of metaphysics in Nietzschean philosophy, 39–40, 50, 61, 293

Iolchos see Volos

Isnenghi, Mario, 114, 156, 305n126

italianità, 117; see also romanità; Rome

Italy, and Risorgimento, 19, 22, 58, 62–63, 71, 92, 94, 160, 185–86, 238, 294n128, 298n13, 301n67

belated modernity of, 97

de Chirico and Savinio’s arrival in during World War One, 32, 56, 124, 175

de Chirico and Savinio’s estrangement from, 13–14, 69, 238, 282n37

entry into World War One, 31, 56

and Fascism, vii, 68–70, 189, 269, 271, 296n151

invasion of Libya by, 104

Nietzsche’s residency in, 24, 283n45

in Nietzsche’s writings, 58, 283n45; see also Ferrara; Florence; Genoa

italianità; Milan

romanità; Rome; Turin

Jameson, Fredric, 158

Janus (Roman god), 135

Jarry, Alfred, 232, 327n22

Jason and the Argonauts see Argonauts

Jewell, Keala, 279n12

Jews, Jewish culture, 13, 69, 141, 184, 188

and de Chirico’s rumored ethnicity, 13, 69

Kahn, Gustave, 89, 140–41, 312n50

Kant, Immanuel, 8, 47, 55, 290n53

Karagiosis (Ottoman shadow puppet), 252–53, 224

Kaufmann, Walter, 278n6, 282n38, 321n69

Kern, Stephen, 136

kerykeion; 23, 78, 124, 127, 145, 317n126

as pun on de Chirico’s surname, 23, 78; see also Hermes

Klinger, Max, 122–23, 137, 139, 148

Repose, 122–23, 102

Erste Zukunft, 137, 139, 148

Klossowski, Pierre, 118, 133, 149, 153, 194

Knossos, palace of, 99, 184, 191, 86

Kofman, Sarah, 61, 264, 293n98, 294n114, 304n105, 317n134

Köselitz, Heinrich (Peter Gast), 117, 166, 283n45, 322n73

Kratzer, Nicolaus, 203–07, 212–14

Krauss, Rosalind, 296n150, 317n132

Kurz, Otto, 46

Lacerba (journal), 146, 332n91

Lamartine, Alphonse de, 97

Lautréamont, Comte de (Isidore-Lucien Ducasse), 151

Le Corbusier, 99, 302n80

Villa Savoye, 87

Léger, Fernand, 79, 232, 247

Woman in an Armchair, 197

Leopardi, Giacomo, 9, 293n112, 305n130

Libera, Adalberto, Palazzo dei Congressi, 241

light: as pictorial trope of philosophical obscurity, 6, 26–27, 100–107, 111, 119, 268; see also gnomon; sundials

Lista, Giovanni, 6, 281n35, 336n6

literariness: as criticism of de Chirico’s Metaphysical aesthetic, 24, 42

and Metaphysical imagery, 9, 24, 32, 35, 40, 42, 46, 214, 217, 260, 280n26, 326n12

literature see literariness

lituus, 25, 32, 183, 187–88, 219, 221–22, 258

Loeser, Charles, 254, 334n113

Longhi, Roberto, 24, 45–46, 67–68, 70, 141–42, 144, 152, 161, 228–29, 242, 246, 250, 251, 259, 269

“To the Orthopedic God,” 70, 141–42, 229, 242, 246, 250

Loos, Adolf, 99

Loreti, Silvia, 326n12, 329n53, 330n72

Loreto, Giovanni, heteronym of Giorgio de Chirico, 302n80

Lorrain, Claude, 50, 104, 198, 283n45, 335n121

Louvre, 28, 73, 78, 160, 182, 187, 198, 203, 208, 227, 241, 247

Lutetia Parisiorum see Paris

madness: Nietzsche’s affliction by, 3, 23, 111, 118, 128, 173, 192, 219–20, 283n48

Magnier, Charles, 200

Cartonnage au steamer, 169; see also Verne, Jules

Manet, Édouard, 46

mannequin, 18, 25, 27, 62, 63, 67, 113, 187, 197, 219–65

and E. Gordon Craig’s Über-marionette, 255–56

as prophet figure, 18, 63, 187, 219–21

and representations of architecture, 219–20, 226, 230, 257–61

wooden material of, 263

and xoana, 25, 225, 235, 238–39, 243–45, 251, 256, 260–61, 264–65, 326n12

Mantegna, Andrea, 78

Parnassus, 78, 60

Marcoussis, Louis, 155–56

Still Life with Chessboard, 131

Marinetti, Filippo Tommaso, 11–12, 58, 113, 154, 264

interpretation of Nietzsche, 11–12, 278n6

Martin, Marianne, 251, 291n84, 333n97

Marville, Charles, Gare Montparnasse at the end of the Rue de Rennes, 77

Rue Mauconseil, 105, 104

Masheck, Joseph, 148

The Mask (journal), 226, 248–52, 332nn90–92, 333n94, 334n110, 335n120, 219, 220; see also Craig, Edward Gordon

Maspero, Gaston Camille Charles, 176–77

Matisse, Henri, 9–10, 99, 255, 334n116

Bathers by a River, 255, 228

Still Life with Lemons, 7

Mazzini, Giuseppe, 63; see also Risorgimento

Mediterranean: as aesthetic imperative in Nietzschean philosophy, 107, 304n102

as strain of primitivism immanent to Western culture, 182, 189, 190–91, 208, 233, 281n32, 304n102, 305n121, 305n125

Mercury see Hermes

Messina, Maria Grazia, 281n28, 310n9

Metaphysical painting: de Chirico and Savinio’s early use of term, viii, 1, 5, 73

de Chirico’s renunciation of, vii, 50, 153

difference from Pittura Metafisica and Scuola Metafisica, viii; see also de Chirico, Giorgio

metempsychosis, 23, 118, 283n48

Metzinger, Jean, 54–55, 246, 292n87, 331n78

Mical, Thomas, 279n16, 305n126

midwifery, as metaphor of Metaphysical aesthetics, 142

Milan, 2, 9, 14, 17, 56, 62, 144, 151, 191, 247, 181n28

de Chirico’s residence in, 2, 9, 14, 17, 62, 144, 190

modernism, 1, 3, 9, 28, 35, 37, 43–47, 51, 58–59, 61, 71, 76, 99–100, 141, 164, 165, 224, 247, 255, 264–65, 274, 298n12, 336n9

de Chirico’s ambivalent relationship to, 28, 35, 37, 43–47, 58–59, 65, 68, 71, 76, 99–100, 137, 165, 226, 248, 264, 274, 279n15, 280n25, 286n9, 327n23, 333n98

and Nietzsche, 49–50, 50–51, 59, 264; see also abstraction; Cubism; Dada; Futurism; Surrealism, Surrealists

Modigliani, Amedeo, 79, 175, 263

Mole Antonelliana, 117, 309n179; see also Turin

Mondrian, Piet, 9, 41, 46, 84, 86–87, 89, 300n37, 300n38

Composition No.VI, Composition, 84, 68, 9

Demolished Building, 84, 69

Montjoie! (journal), 116, 126, 144, 249–50, 221

Montparnasse (journal), 81–82

Montparnasse (neighborhood) viii, 4–5, 9, 11, 32, 38, 47, 53, 73–75, 76–94, 113–14

de Chirico’s work in, viii, 4–5, 9, 32, 41, 47, 73–94, 113–14

urbanism of, 18

Montparnasse (train station), 73–76, 86–90, 97, 99, 103, 110, 113, 118, 57, 58, 59

Munch, Edvard, 3

Nietzsche, 3, 2

Munich, 2, 9, 17, 26, 41, 90, 116, 118, 123, 135, 176, 190, 308n170

Academy of Fine Arts, 2, 41, 288n31

de Chirico’s study in, 2, 17, 26, 41, 123, 190, 294n124, 308n170, 327n30, 328n40

music, 112, 135, 145, 176, 236, 239

de Chirico’s rejection of as aesthetic model, 135, 274; see also Savinio, Alberto

Mussolini, Benito, vii, 10, 68–69

myth, ix, 4, 12, 18–19, 24, 26, 32, 68, 105, 107, 111, 150, 178, 184–88, 200, 201, 213, 222, 225, 233–34, 238–39, 242, 245, 259–60, 272, 295n137, 324n127, 327n29, 328n40, 330n64

and language, 18, 24, 118–19, 239

and Metaphysical aesthetics, ix, 4, 18, 24, 26, 58, 68, 74–77, 95, 96, 111, 115, 118, 124, 126, 136, 142–45, 150, 174–76, 178, 184–88, 225, 233–34, 238–39, 242, 256, 259–60, 272–73, 275, 282n44

in Nietzschean philosophy, 12, 47, 111, 151, 152, 222, 244, 264, 272–73; see also Argonauts; Ariadne; Calchas; Daedalus; Delphi; Dioscuri; Hermes; Homer

Homeric Hymns; Odysseus; Orpheus; Pelasgia

Nadja, 313n58

nationalism, 58, 71

Nietzsche’s rejection of, 12–13, 58, 71, 281n34, 296n158

naval metaphor see ship

New York Times, 242

Nietzsche, Carl Ludwig, 40, 244

Nietzsche, Friedrich, and contempt for politics, ix, xv, 8, 10, 48, 65

consequence of late philosophy on Metaphysical painting, 2, 4, 8, 28, 37, 40, 104, 132, 149, 194, 251, 252, 307n152

cultural reception in France, 306n150

cultural reception in Italy, 278n6

and Hellenism, 177, 188

illness of, 15, 194

influenced by Heraclitus, ix, 17, 58–59, 104, 134, 148, 160–61, 165, 177–79, 190, 194, 208, 280n20, 294n114, 311n33, 317n123, 321n54, 321n71, 322n80, 324n110, 324n124

and Italy 24, 283n45

Lutheran upbringing of, 40, 244

madness of, 3, 23, 111, 188, 128, 173, 192, 219–20, 283n48

and nineteenth-century archaeology, 190–91

and pre-Socratic philosophy, ix, 17, 59, 104, 134, 177–79, 194, 208, 322n80

and religion, 39, 187, 194, 196, 321n50

and Schopenhauer, 22, 39

and Turin, 19–23, 63, 76, 104, 114, 118, 132, 174, 192–94, 220, 228, 283n45, 283n48, 304n112, 308n179, 319n20, 322n73

and Wagner, xi, 4, 22, 113, 167, 226, 250–51, 282n38, 284n59, 332n93, 333nn103–04; TEXTS: The Antichrist, 19, 244, 332n93

Beyond Good and Evil, 26, 31, 38, 40, 61, 103, 117, 132, 250, 280n20, 287n13, 290n64, 315n86, 333n94

The Birth of Tragedy, 14, 47, 153, 282n38, 332n93

The Case of Wagner, 22, 194, 333n103

Daybreak, 50, 178, 187, 282n38, 283n45

Dithyrambs of Dionysus, 304n112

Ecce Homo, 6, 22, 37, 38, 47, 61–62, 133, 137, 148, 191–92, 221, 264–65, 281n34, 282n38, 283n47, 318n137, 321n61, 322n88, 325n4, 332n93, 333n103, 335n127, 337n19, 16

On the Genealogy of Morals, 38, 50, 111, 119, 186, 287n13, 307n152

The Gay Science, xv, 26, 47, 103, 112, 132, 133, 250, 282n38, 283n45, 287n17, 316n115, 322n88

Human, All Too Human, 22, 40, 50, 117, 119, 138, 149–50, 165–67, 178, 186–87, 190, 230, 244, 261, 281n34, 283n45, 290n63, 138

Nietzsche Contra Wagner, 56, 332n93

Philosophy in the Tragic Age of the Greeks, 62, 148, 166

Twilight of the Idols, 22, 49, 113, 251, 255, 263, 290n64

Untimely Meditations, 62, 16

The Wanderer and His Shadow, 166, 138

The Will to Power, 31, 38, 158, 250, 315n86, 333n103

Thus Spoke Zarathustra, 4, 40, 103, 107, 132–34, 138, 147, 154, 159, 161, 176, 178, 189, 194, 208, 214, 230, 244, 261, 281n34, 282n38, 283n45, 290n72, 304n112, 310n13, 311n32, 312n48, 314n73, 318n137, 321n54, 322n88, 324n125, 330n67, 333n94

Truth and Lies in an Extra-Moral Sense, 187, 280n20, 306n137; see also Eternal Return, Nietzche’s Theory of; Will to Power

‘Nietzschean method’, 5–6, 28, 39, 128, 198, 226

as declared strategy of Metaphysical painting in Paris, 5–6, 226

Odysseus, 17, 18, 62, 226, 239, 300n44

Oldenberg, Hermann, 176–77

“On Cubism” (Gleizes and Metzinger), 54; see also Cubism

Onslow Ford, Gordon, 2, 337n11

oracle, 16, 18, 77–78, 102, 108, 179, 189, 213, 230

in Metaphysical painting, 16, 18, 102, 108, 213, 230, 269; see also de Chirico: The Enigma of the Oracle; Delphi

orientalism, 177, 178, 184, 227, 253, 321n55

Orpheus, 247, 256, 328n41

Palatine Hill, 185, 187

Papini, Giovanni, 39, 146, 162, 295n135, 324n118, 332n94

Paris, vii, viii, 2–3, 9, 11, 13–15, 17–18, 34–35, 56, 58, 60, 67, 71, 73, 74, 79, 82, 85, 87–105, 109–10, 116–18, 123–24, 127, 128, 131, 133, 136, 159, 162, 168, 179–80, 184–86, 192, 194, 195, 198, 200, 208, 220, 225, 229, 230–31, 236, 241, 243, 244–47, 249, 259, 262–63, 268, 269, 274, 280n25, 281n28, 297n7, 302n75, 307n164, 308n177, 312n50, 313n58, 317n129, 327n30

de Chirico’s pre-war writings from, 17, 48, 50, 66, 70, 99, 127, 148, 149, 151, 180, 185, 230–31, 244, 280n24, 287n18, 291n78, 293n95, 295n142, 300n48, 305n116, 306n134, 309n5, 310n13, 314n73

de Chirico’s studios in, 35, 41, 73, 76, 78, 81, 82, 127, 168, 255, 285n62, 310n12, 316n105

as “Lutetia” in de Chirico’s work, 18, 91, 186, 282–3n44, 286n5

and pre-World War One avant-garde, 3–4, 31–32, 35, 43, 56, 68, 73, 82, 128, 136, 140–46, 155–56, 225, 249, 262–63, 306n150, 310n24, 318n9, 324n118

and pre-World War One reception of de Chirico’s painting, 35–36, 288n37, 289n44

and World War One, 268; see also Haussmannization; Montparnasse

Les Soirées de Paris

Pascal, Blaise, 40

Pascoli, Giovanni, 185, 320n39

Pasolini, Pier Paolo, 283n51

passage, 61, 101; see also Cézanne, Paul

“pathos of distance,” 37, 49–51, 132, 136, 159, 294n144

Pausanias, 232, 243, 327n25

Le Paysan de Paris, 101, 275; see also Aragon, Louis

Pelasgia, Pelasgians, 25, 237–38, 242–43, 247, 328nn34–36, 328n38, 328n40

“Per te praesentit aruspex,” 184; see also Apollinaire, Guillaume; haruspexy

perspective, 5, 6, 8, 13, 32, 34, 37–44, 46–48, 50, 55–56, 58–60, 61–63, 64, 66–71, 75, 80, 89, 94, 96, 109–11, 115, 116, 131, 136, 151, 152, 202, 208, 210–11, 213, 261, 286n6, 296n151, 323n108

and flatness, 47

and future tense, 109–10, 305n131

Nietzsche on, 31, 37–40, 48, 55–56, 61, 62–63, 111, 294n126, 300n48

and pathos of distance, 136

and philosophical privilege, 40

presumed as classical trope in de Chirico’s painting, 37

phenomenology, 51, 212

phialai, 235–36

Phidias, 232, 239, 241–42

Phineus, 222, 238, 328n41

Piacenza liver (late second century BCE sculpture), 180–83, 187, 207, 146; see also haruspexy

piazza: in Metaphysical imagery, 2, 13, 24, 32, 44, 46, 60–61, 94, 117, 156–59, 219, 245, 271, 302n76

and relationship to language, 156, 158–59

piazze d’Italia: as latter-day description of Metaphysical imagery, 159, 316n114

Piazza della Signoria, 74, 56

Picabia, Francis, 9, 53, 67, 73, 162, 164, 247, 265, 279n6, 288n33, 295n146, 296nn147–48, 297n3, 312n53, 323n100

A Little Solitude, 67

Portrait d’une jeune fille américaine dans l’état de nudité, 49

Picasso, Pablo, 2, 25, 35, 43, 73, 76, 79, 133, 146, 156, 162, 175, 246, 280n25, 288n37, 289n39, 292n84, 297n2, 316n104, 316n105, 331n84

Glass of Absinthe, 146, 162, 125

Pikionis, Dimitris, 135, 311n35

Pinocchio, The Adventures of, 161

compared by de Chirico to Thus Spoke Zarathustra, 230–32

Piranesi, Giovanni Battista, 97, 114–16, 273

Via Appia Imaginaria, 97

Piranesi, Pietro, 116

Pirelli, 142, 144

Place de Rennes, 75, 83, 86–87, 89, 97, 113, 161, 330n71; see also Montparnasse

Plato, Platonic philosophy, 55, 126, 186, 213, 232, 243

Plutarch, 232

poetry, poetics, ix, 18, 25, 40, 73, 77, 78, 89, 113, 116, 135, 141, 142, 144, 148, 158, 180, 209, 216, 222–23, 280n25, 287n18, 298n15

and Apollinaire, 142, 211, 224, 262–63, 312n55, 331n81

de Chirico’s writing of, 104, 107, 244, 300n48, 306n133, 309n5

and Nietzsche, 8, 16, 124, 138, 164–65, 178, 222, 244, 283n45, 304n112; see also Apollinaire, Guillaume; subtraction; de Chirico: The Delights of the Poet, The Departure of the Poet, The Destiny of the Poet, The Nostalgia of the Poet, The Philosopher and the Poet, The Philosopher-Poet, The Return of the Poet, The Torment of the Poet, The Uncertainty of the Poet); Rimbaud, Arthur

polis (ancient game), 161

pompier, pompiers, 31–32, 53, 243, 286n4

positivism, 3, 37, 39, 54, 56, 102, 154, 194, 212

avant-garde opposition to, 3, 54, 56, 212

Nietzsche’s opposition to, 37, 39, 154, 194;

posters, 6, 77, 95, 156, 313n63

and Metaphysical imagery, 18, 105, 142, 103, 144–45

Poussin, Nicolas, 9, 28, 51, 127, 198–99, 204, 64

Winter, 198–99

pre-Socratic philosophy, xi, 17, 58–59, 60, 104, 160, 177–79, 194, 208, 212, 215, 231

influence upon Nietzsche, ix, 17, 59, 104, 134, 177–79, 194, 208, 322n80

as “primitivist” element in Metaphysical painting, 25, 104, 177–79

prehistory, 10, 11, 97, 109, 111, 179–80, 186, 211, 215, 242–43, 268, 273, 298n19, 326n12

de Chirico’s writings on, 179, 211, 243, 306n133, 330n71

Nietzsche’s writings on, 86

primitivism, 10, 25, 107, 158, 175–77, 179, 225, 228–29, 232, 246–47, 252, 255, 263, 264, 329n52, 330n59, 334n115, 335n126

and the Parisian avant-garde, 175, 225, 232, 246–47, 255, 263, 313n58, 326n12; see also xoanon, xoana

prophecy, 11, 109, 124, 165, 219, 231, 263, 271, 325n5, 326n15, 328n41

and Nietzsche’s writing, 124, 144; see also augur, augury; blindness; divination; oracle

Quattrocento, 8, 34–35, 45, 48, 58–59, 94, 99, 228, 294n124; see also Renaissance

Queneau, Raymond, viii, 292n94, 313n59

Ragghianti, Carlo Ludovico, 24, 58, 251, 289n48, 308n176, 333n97, 337n12

Raphael, 24, 78, 150–51, 178, 194, 227–28, 307n158, 310n10, 326n15

Saint Luke Painting the Madonna and Child in the Presence of Raphael, 227–28, 192

The Marriage of the Virgin, 151, 127

The School of Athens, 178, 145

Ray, Man, Andre Breton in front of de Chirico’s The Enigma of a Day, 44, 37

Raynal, Maurice, 35, 42, 44, 58, 67, 147, 192, 269, 302n75, 313n59

readymade object, 146, 153, 158, 162

Reinach, Salomon, 176–77, 240–41, 255, 329nn51–52

Renaissance, 8–9, 34–37, 46–47, 49–50, 59, 90, 168, 174, 178, 213, 251

comparisons of Metaphysical painting to, 34–37, 286n6

and humanism, 174, 178, 216

and science, 178, 213

as theme in Nietzsche’s writings, 8–9, 49–50, 59, 63, 290n63, 290n64; see also Alberti, Leon Battista; Bramante; Donatello; della Francesa, Piero; Raphael; Uccello

“Return to the Craft,” vii, 50, 153, 326n10

revelation: and Nietzschean philosophy, 8, 28, 104, 110, 147, 164, 167, 208, 314n73, 326n15

as trope in Metaphysical aesthetics, 1, 2, 16, 25, 28, 86, 137–38, 148–49, 163, 210–11, 219–20, 228, 231, 329n44

“Revelations on the ‘Enigma of the Eternal Return,” 135, 236–37

Ribemont-Dessaignes, Georges, 89, 164, 301n55, 317n132

Rimbaud, Arthur, 9, 77, 87, 102, 119, 141, 144, 298nn15–16, 323n94

Riou, Édouard, 28, 97, 198–203

illustration for La terre avant le deluge, 199–200, 165, 166

illustration for Voyage au centre de la Terre, 171

Risorgimento, 19, 22, 58, 62–63, 71, 92, 94, 160, 185–86, 238, 294n128, 298n13, 301n67

Rivera, Diego, 86–87

Still Life with Montparnasse Station, 71

Rivière, Jacques, 142, 144

Robert, Hubert, 97

Robertson Smith, William, 176, 245

roman policier, 143; see also Fantômas

romanità, vii, 13, 69; see also italianità; Rome

romanticism, 22, 51–52, 65, 102, 319n19

as differentiated from Metaphysical aesthetics, 51–52, 65, 274, 334n120

Nietzsche’s rejection of, 22, 102, 292n93, 293n112, 319n19

Rome, vii, 2, 69, 73, 89, 90, 91, 94, 116, 180, 182, 185, 186, 189, 208, 227, 228, 272, 301n57

de Chirico early visit to, 2, 185, 227

in Nietzsche’s writings, 8, 283n45

Roos, Gerd, 6, 176, 279n15, 281n28, 282n38, 288n31, 319n12, 331n83

Rossi, Aldo, 94, 302n69

Rubin, William, 9, 99, 280n26, 286n9, 331n83

Rue de Rivoli, 90–91, 78

ruins, 116, 135, 190

and misreading of Metaphysical painting, 96–100, 212, 214, 302n75

Russolo, Luigi, 3

Nietzsche and Madness, 3, 3

St. Luke, 226–28, 231, 233, 235

as first icon painter and patron saint of painters, 228

Raphael’s depiction of, 227, 192

Salmon, André, 53, 76, 80–82, 226–28, 288n34, 291n80, 298n10, 298n12, 298n20, 298n25, 314n66, 326n14

Salon d’Automne, Paris, 13, 49

Salon des Indépendants, Paris, 44, 49, 55, 73, 96–97, 121, 246–47

Sant’Elia, Antonio, 113, 306n149

La Città Nuova, 94

Sanzio, Raphael see Raphael

Saussure, Fernand de, 158

Savinio, Alberto, 2, 5, 31–32, 38, 49, 51–53, 56, 60, 62, 64–65, 67, 69–70, 73–75, 81, 83, 103–05, 118, 124, 143, 145, 162, 164, 174–76, 185, 188–89, 199–201, 211, 224–25, 232, 236–41, 243, 249, 254, 260, 263, 265, 267, 273, 281n28, 282nn37–38, 283n44, 283n48, 285n64, 286n1, 286n4, 290n60, 291nn79–80, 292n93, 292n95, 293n96, 295n139, 297n159, 297nn161–62, 297n7, 298n16, 299n30, 299n36, 304n105, 309nn6–7, 312n53, 313n59, 314n67, 318n9, 319nn11–12, 322n89, 324n127, 327n25, 328n34, 329n45, 329n47, 330n66, 332n91, 334nn115–16, 335n126, 336n134, 336nn3–4, 337n15

À quelle heure part le train pour Paris? (collaboration with Apollinaire, De Zayas, and Picabia), 53, 67, 73, 162, 297n3, 304n116

Les Chants de la mi-mort (1914), 224, 232, 240, 260, 291n84, 310n13, 322n90, 325n9

The Childhood of Nivasio Dolcemare, 202n37

collaboration with de Chirico, 2, 73–75, 135, 145, 225, 236–39, 304n115, 310n13, 325n9

on heraldic meaning of surname de Chirico, 124, 309n7

as musician, 53, 83, 135, 145, 176, 185, 224, 236, 239, 267, 310n13, 313n65, 314n66, 330n71

Objets dans la forêt, 199–200, 267

The Oracle, 60, 43

pseudonym of Andrea de Chirico, 2

as theorist of Metaphysical aesthetics, 5, 38, 51–53, 64, 65–66, 132–33, 260, 291n78, 331n73

Tragedy of Childhood, 260

writings on Nietzsche, 69–70, 103–04, 265, 278n6, 297n159, 297n161

writing on sculpture, 239–40, 329n48

Schmied, Wieland, 6, 279n15, 330n54

Schopenhauer, Arthur, 17, 22, 39, 129, 144, 194, 212, 220, 274, 279n15, 279n17, 287n18, 294n131, 300n38, 306n138, 315n98

“Essay on Apparitions,” 17, 144, 286n5, 306n138, 315n81, 315n98

Nietzsche’s break with, 22, 39

The World as Will and Representation, 129, 287n18

Schwitters, Kurt, 100

Scott, Geoffrey, 174, 196

sculpture, 5, 225, 230–32, 239–40, 246

role in Metaphysical theory, 5, 230–32, 239–40, 246; see also mannequin

xoanon, xoana

seafaring see ship

“second sight,” 17, 26, 76, 220, 228; see also divination

seer see divination; prophet; “second sight”

Serlio, Sebastiano, 251

Severini, Gino, 53–54, 56, 103, 113, 307n151

Memories of a Voyage, 53, 40

shadows, 1, 2, 4, 32, 61, 64, 73, 101, 102, 110, 116, 153, 171, 195, 197, 198, 207–08, 210, 215, 219, 228, 239, 253, 258, 261, 303n92, 324n109; see also gnomon; sundials

ship, as pictorial and conceptual conceit in Metaphysical painting, 89, 202, 211–12, 238, 301n53

shop front see shop window

shop sign, 123–24, 162

and The Enigma of Fatality, 123–14

and The Serenity of the Scholar, 126

shop window, 18, 24, 25, 122–23, 131, 141, 171, 180, 202, 224, 229, 235, 243–44

de Chirico’s writings on, 131, 310n24

Shout (artist), 242

silence: and Heraclitus, 174

and Nietzsche’s writings, 22, 27, 104, 116, 251, 272, 285n65, 324n125, 335n127

as trope in Metaphysical aesthetics, ix, 4, 22, 24, 27, 116, 174, 179, 213, 217, 239, 251, 265

Sironi, Mario, 68

The White Horse: The Pier, 68, 52

Soby, James Thrall, viii, 5, 99, 151, 180, 195, 214, 279n15, 295n143, 300n44, 316n118, 318n3, 319n26, 322n76

socialism, 214, 292n93

Savinio’s disparagement of, 56, 292n95

Société des Mélanophiles, 175

Socrates, socratic philosophy, 24, 49, 243, 306n144; see also pre-Socratic philosophy

Soffici, Ardengo, 9–10, 41, 44–45, 58–59, 62, 127–28, 146, 164, 288n32, 289n42, 292n95

Still Life with Red Egg, 5

Les Soirées de Paris (journal), 5, 9, 10, 51–52, 136, 143, 145, 146, 159, 162, 224, 232, 264, 296n148, 39

“solitude of signs,” 7, 70, 164, 244

Sony Playstation, 237

Souvestre, Pierre, 143; see also Fantômas

Stewart, Andrew, 327n29

Stieglitz, Alfred, 175, 263, 332n91

still life, 5, 86, 104–05, 121, 128, 129–31, 133, 146, 155–56, 160

Schopenhauer on, 129; see also vanitas

Strabo, 178, 208, 232, 327n25, 327n26

Geografica, 208

Strong, Tracy B., 338n20, 338n27

subtraction, as aesthetic method in de Chirico’s painting, 5, 40, 222, 239, 268

sundials, 25, 203–10, 212, 268

Nicolaus Kratzer’s fashioning of, 204–06

surgery, as metaphor of Metaphysical painting, 152

surprise: as trope of Metaphysical imagery, 87, 88, 121, 128, 133, 137, 148–49, 162, 227

and Nietzschean philosophy, 133, 147

Surrealism, Surrealists, viii, 47, 68, 146–47, 163

de Chirico’s influence upon, 10, 69, 102, 146–47, 163, 215, 271, 281n28

de Chirico’s work confused with, viii, 26, 102

Survage, Léopold, 156–57

Factories, 132

Tarkhoff, Nicolas, 80, 85

Flamboiement sur la gare Montparnasse la nuit, 80, 64

La gare Montparnasse la nuit, 80, 63

Taxidou, Olga, 332n93, 333n98

Taylor, Michael, 280n26, 286n9, 334n116

templum, 25, 186, 194, 208, 323n105; see also augur, augury

lituus

La terre avant le deluge, 198–99, 165, 166; see also Riou, Edouard

theater, 226, 252–53, 260

as concept in Nietzschean philosophy, 132

as critical epithet for Metaphysical imagery, 251

Theocritus, 260

Thessaly see Volos

time, 96–97, 107–11, 129–40, 145, 207–13; “absolute,” 136

and Darwin, 61–62; “deep,” 202

historical, 11, 71, 179, 271–72

and Nietzsche, 145, 171, 186, 207–13, 272

and Schopenhauer, 39, 294n131

visual ambivalence of, xv, 11, 76, 86, 88, 96–97, 102, 107–11, 113, 115, 129, 149, 167, 207–13, 216, 242–43, 271–72, 306n134; see also Bergson, Henri; clocks, portable; dialectics; Eternal Return, Nietzche’s Theory of

gnomon; perspective; prehistory; ruins; sundial

timepieces see clocks, portable; gnomon; sundials

“To the Orthopedic God,” 70, 141–42, 229, 242, 246, 250; see also Longhi, Roberto

Trachsel, Albert, 102

trains, 2, 12, 18, 40, 52, 76, 109, 138

as metaphor in Metaphysical imagery, 12, 18, 138, 268

prominence in Metaphysical imagery, 12, 40, 52, 76, 109, 117, 119, 136, 152, 242, 260; see also de Chirico, Evaristo

Trione, Vincenzo, 279n16, 296n153

Turin, 6, 19–23, 53, 62, 63, 73, 76, 80, 84, 94, 107, 111, 114, 118, 192–95, 295n143, 297n1

Evaristo de Chirico’s education in, 19, 62, 205

de Chirico, Still Life: Turin Spring, 18, 23–24, 35, 18

and de Chirico’s aborted military service, 53, 291n81

de Chirico’s first visit to, 19, 195

and Mediterranean, 194, 305n121

and Nietzsche’s madness, 6, 111, 118, 128, 192–95, 219, 283n45

and Nietzsche’s residence in, 19–23, 63, 76, 104, 114, 118, 132, 174, 192–94, 220, 228, 283n45, 283n48, 304n112, 308n179, 319n20, 322n73

Nietzsche’s writings from, 58, 84, 104, 107, 114, 118, 190, 221, 228n38, 283n45, 304n112, 308n170, 319n20

and Risorgimento, 58, 62, 92, 298n13

Roman founding of, 91

urbanism of, 26, 84, 90–94, 131–32, 161, 191

as the ville carée, 161

Tzara, Tristan, 149, 216–17

Über-marionette, 226, 251–52, 254–56, 332n92, 334n107; see also Craig, E. Gordon

Uccello, Paolo, 34–35, 44, 131, 149, 248, 289n42

Miracle of the Desecrated Host, 26

Ulysses see Odysseus

underpaintings, 64, 149, 197, 298n13, 308n178, 47

untimeliness

see time

Utrillo, Maurice, 110, 263

Street in Paris, 93

Van Doesburg, Theo, 272

vanitas, 160, 174, 207, 212; see also still life

Vattimo, Gianni, 61, 287n23, 337n18

Vauxcelles, Louis, 13, 250, 269, 288n34, 333n96

Verne, Jules, 198, 200–203, 323nn93–94

Cinq semaines en ballon, etc., 169

Voyage au centre de la Terre, 171

Versailles, 48, 66, 288n29

Vidler, Anthony, 102

Les Vieilles enseignes de Paris, Les, 124, 107, 108

Villa Savoye (Le Corbusier), 99

Vitrac, Roger, 215

Volos, Greece (ancient Iolchos), 12–14, 18, 23, 66, 78, 114, 116, 205, 222, 235, 238, 242

de Chirico’s invocations of, 205, 222

and de Chirico, Evaristo, railway engineering, 22, 53

and the Homeric Hymns, 78

and myth of Jason and the Argonauts, 12, 18, 238, 242

Wagner, Richard, 22, 26, 39, 57–59, 102, 105, 110–11, 117, 150, 177, 194, 251, 284n58, 290n70, 293n95, 322n55, 333n103

Nietzsche’s philosophical reactions against, xi, 4, 22, 113, 167, 226, 250–51, 282n38, 284n59, 332n93, 333nn103–04; see also Nietzsche, Friedrich

Waite, Geoff, ix, 285n67, 321n54

Warnod, André, 28, 124–26, 310n9; see also Les Vieilles enseignes de Paris

wayang (Indonesian shadow puppet), 253, 225

Weiss, Jeffrey, 334n116

Will to Power, 4, 39, 56–57, 63, 272

The Will to Power see Nietzsche, Friedrich: texts

Wilson, Woodrow, 32

Winckelmann, Johann Joachim, 190, 319n19, 328n40

words-in-freedom, 154–55, 316n103; see also Apollinaire, Guillaume

Caligrammes; Futurism; poetry

The World as Will and Representation see Schopenhauer, Arthur

World War One, viii, 28, 31, 56, 58, 79, 80, 82, 86, 100, 113, 133, 192, 216, 261–62, 265, 268

x-ray, 27, 124, 196; see also divination; “second sight”

xoanon, xoana, 25, 225, 229, 232–45, 247, 251, 255, 256, 259–61, 264–65, 326nn11–12, 327nn23–26, 328n38, 329n52, 330n59, 330n72, 331n73, 335nn121–22

de Chirico and Savinio’s writings on, 225, 229, 243, 260, 326n10

perceived primitivism in Hellenic antiquity, 242–43, 330n59

Zarathustra see Nietzsche, Friedrich: texts

Zayas, Marius De, 53, 73, 145, 231–32, 263, 296n148, 297n3, 312n53

Portrait of Ambroise Vollard, 232, 196

Zoroaster, 178

Previous chapter

Base text size -

Chapter images ()