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Abstract

Giorgio de Chirico’s career as a modern painter was intrinsically linked to the past, as Hellenic references and classical mythology formed the core of his vision. However, his art was also intensely personal, seen in de Chirico’s continuous depiction of the particular myths of the Dioscuri and the Argonaut voyage. A look to his extensive memoirs and those of his brother, Alberto Savinio, reveals the artist’s preoccupation with the Argonaut and Dioscuri myths as a metaphor of self, central to his creation of a personal mythology. A chronological visual analysis of the recurring subject matter amplifies the artist’s constant return to the imagery and themes that came to define much of his oeuvre. De Chirico’s 1929 novel, Hebdomeros, is the literary equivalent of his artistic treatment of Argonautic voyages and departures.

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