where did giorgio de chirico work
After studying art in Athens and Florence, de Chirico moved to Germany in 1906 and entered the Munich Academy of Fine Arts. His early style was influenced by Arnold Böcklin’s and Max Klinger’s paintings, which juxtapose the fantastic with the commonplace. By 1910 de Chirico was living in Florence, where he began painting a unique series of landscapes that included The Enigma of an Autumn Afternoon (1910), in which the long, sinister, and illogical shadows cast by unseen objects onto empty city spaces contrast starkly with bright, clear light that is rendered in brooding green tonalities. Moving to Paris in 1911, de Chirico gained the admiration of Pablo Picasso and Guillaume Apollinaire with his ambiguously ominous scenes of deserted piazzas. In these works, such as The Soothsayer’s Recompense (1913) and The Mystery and Melancholy of a Street (1914), classical statues, dark arcades, and small, isolated figures are overpowered by their own shadows and by severe, oppressive architecture.
Giorgio de Chirico, (born July 10, 1888, Vólos, Greece—died Nov. 19, 1978, Rome, Italy), Italian painter who, with Carlo Carrà and Giorgio Morandi, founded the style of Metaphysical painting.
During these years, de Chirico’s work was also branching into other mediums. In 1924, he worked on designs for a ballet in Paris based on a short story by the Italian dramatist Luigi Pirandello. He made lithographs for a reproduction of Guillaume Apollinaire’s book of poems Calligrammes in 1929. In the same year, he wrote his only novel, Hebdomeros. Despite his artistic change of direction, the book’s dream-like collection of impressions and situations functions as a literary companion to his metaphysical paintings. By this time De Chirico had distanced himself from the Surrealists, yet Hebdomeros is still considered one of the finest examples of Surrealist literature.
De Chirico’s later period of work is usually said to start in 1919 and lasted until his death in 1978. In 1919, soon after his first solo show, he had a revelation while contemplating a Titian painting at Rome’s Galleria Borghese. He wrote ‘The Return of Craftsmanship,’ an article that advocated a return to traditional methods and iconography, while simultaneously launching an outspoken campaign against modern art. Previously de Chirico had not taken much interest in technique. Despite his training, his early figurative work revealed an underdeveloped knowledge of anatomy. He sought to remedy this while in Rome, particularly between 1919 and 1924, where he worked on his technique and was inspired by the Old Masters.
could condense voluminous feeling through metaphor and association . In The Joy of Return, 1915, de Chirico’s train has once more entered the city . a bright ball of vapor hovers directly above its smokestack. Perhaps it comes from the train and is near us. Or possibly it is a cloud on the horizon, lit by the sun that never penetrates the buildings, in the last electric blue silence of dusk. It contracts the near and the far, enchanting one’s sense of space. Early de Chiricos are full of such effects. Et quid amabo nisi quod aenigma est? (“What shall I love if not the enigma?”)—this question, inscribed by the young artist on his self-portrait in 1911, is their subtext. 
In 1958, Riverside Records used a reproduction of de Chirico’s 1915 painting The Seer (originally painted as a tribute to French poet Arthur Rimbaud) as the cover art for pianist Thelonious Monk’s live album Misterioso. The choice was made to capitalize on Monk’s popularity with intellectual and bohemian fans from venues such as the Five Spot Café, where the album had been recorded, but Monk biographer Robin Kelley later observed deeper connections between the painting and the pianist’s music; Rimbaud had “called on the artist to be a seer in order to plumb the depths of the unconscious in the quest for clairvoyance . The one-eyed figure represented the visionary. The architectural forms and the placement of the chalkboard evoked the unity of art and science—a perfect symbol for an artist whose music has been called ‘mathematical.'” 
In the summer of 1911, with his mother and his brother Alberto, he travelled to Paris where his real artistic career began, in contact with the French artistic-cultural avant-garde circles and later with the poet Guillaume Apollinaire. In the same year, thanks to help from his brother, he met Pierre Laprade, member of the jury at the Salon d’Automne, for which he exhibited three works: “Enigma of the Oracle (Enigma dell’Oracolo)”, “Enigma of an Afternoon (Enigma di un pomeriggio)” and “Self-Portrait (Autoritratto)”. When another three of this works were exhibited in 1913 at the Salon des Indépendants in Paris he was noticed by Pablo Picasso and Guillaume Apollinaire, thanks to whom De Chirico became friends with Brancusi, Braque, Jacob, Soffici, Léger and Derain. In the autumn of the same year Apollinaire organised an exhibition of thirty works by the artist in his studio and wrote a review of De Chirico in “L’intransigeant” using the term “metaphysic”. Magazines and newspapers published his works and praised his creative qualities.
Giorgio De Chirico was born on 10th July 1888 in Volos, the capital of Thessaly (Greece). His father Evaristo was an engineer and his mother, Gemma Cervetto, a noblewoman of Genoese origin. Two years later in Athens, his brother Andrea was born. Andrea adopted the pseudonym of Alberto Savinio in his work as a writer and musician.
In The Enigma of a Day, painted a year after The Anxious Journey, in 1914, de Chirico took up the motifs of his previous composition and expanded them. The sharply delineated shadows and sun-bleached arcades now framed a piazza, deserted but for a towering marble statue, a partially obscured moving carriage, and two human figures casting exaggerated shadows in the distance. One of de Chirico’s great innovations was to marry these vaguely classical, if highly simplified, architectural elements with the recently developed pictorial language of Cubism, typified by flattened spatial structures, shapes reduced to bold and simple planes, muted tones with little modeling, and compressed space. Another hallmark of his style was a seemingly effortless conjunction of incompatible spatial systems into a single, coherent scene. In The Enigma of a Day, he plays with both shallow and steep spaces and employs numerous vanishing points. These spatial inconsistencies only reveal themselves on close examination, undermining any initial impression of stability.
Arriving in Paris in 1911, de Chirico immersed himself in the city’s avant-garde circles. Guillaume Apollinaire, the experimental poet and defender of Cubism, soon became the artist’s champion, writing in an early review of a small exhibition de Chirico staged in his studio, “The art of this young painter is an interior and cerebral art which bears no relation to that of the painters of recent years.” (De Chirico would later encourage this perception of himself as an outsider.) Apollinaire also noted that de Chirico’s “very sharp and very modern sensations” often assumed an “architectural form,” perhaps in reference to The Anxious Journey, with its overlapping colonnades, which was included in that exhibition. 2