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Student Artwork Guide

Self Portrait

Name Class Date

Giorgio de Chirico, Self Portrait (1911). Reproduced for reference; rights reserved by the rights holder. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Giorgio de Chirico originaluniqueart.com/en/artists/giorgio-de-chirico/
Artist’s dates
1888 – 1978
Painted
1911
Medium
Oil On Canvas
Period
19th Century
Artistic style
Metaphysical Art
Influences
Böcklin, Klinger, Nietzsche
Notable elements
Clock, boat view
Subject or theme
Self-reflection

In context

Self Portrait — Giorgio de Chirico

When was this painted?

  1. 1880
  2. 1890
  3. 1900
  4. 1910
  5. 1920
  6. 1930
  7. 1940
  8. 1950
  9. 1960
  10. 1970

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 90 at death.

Painted when the artist was 23. The artist lived to 90. 2 of the 95 dated works by this artist in our catalogue came earlier.

Shaded: the lifetime of Giorgio de Chirico (1888–1978) ▲ this work, 1911 every dated painting, decade by decade

First works: up to 1914 Main working years: 1914–1947 Late works: from 1947

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/giorgio-de-chirico-self-portrait-8EWHEZ-en/

Colours

Measured from the image

    Main colour

    Phthalo Green #201b19

    Catalogued palette

    • #201B19
    • #8C8A53
    • #CBC2A1
    • #4C4C33

    These colours inside the artist’s whole palette Find other paintings by colour

    Main colour name
    Phthalo Green
    Intensity
    Balanced How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Statement How much the colours differ in lightness and saturation across the picture.
    Harmony
    Balanced Harmony How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Subtle Color How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Giorgio de Chirico over the last twelve months — 47 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 43.6%14,700 visits
    2. 2 France 8.0%2,700 visits
    3. 3 United States of America 7.4%2,500 visits
    4. 4 Italy 6.2%2,100 visits
    5. 5 Japan 4.5%1,500 visits
    6. 6 Romania 4.2%1,400 visits
    7. 7 Germany 2.7%900 visits
    8. 8 United Kingdom 2.4%800 visits
    9. 9 Argentina 2.1%700 visits
    10. 10 Mexico 1.8%600 visits
    11. · 37 other countries 17.1%5,800 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Giorgio de Chirico

    1. 1 The Child's Brain, 1917 4.2%2,700 visits
    2. 2 The Prodigal Son, 1922 3.9%2,500 visits
    3. 3 The Song of Love, 1914 3.9%2,500 visits
    4. 4 Hector and Andromache, 1917 3.9%2,500 visits
    5. 5 The Great Metaphysician, 1917 3.0%1,900 visits
    6. 6 The Uncertainty of the Poet, 1913 2.8%1,800 visits
    7. 7 Great metaphysical interior, 1917 2.8%1,800 visits
    8. 8 Enigma of the arrival of evening 1.9%1,200 visits
    9. 9 The Uncertainty of the Poet 1.7%1,100 visits
    10. 10 The Enigma of the Arrival and the Afternoon, 1912 1.7%1,100 visits
    11. 11 Turin Spring, 1914 1.6%1,000 visits
    12. 12 Homesicknessof an Engineer 1.6%1,000 visits
    13. 13 The Enigma of the Hour, 1911 1.4%900 visits
    14. 14 Melancholy and Mystery of a street 1.4%900 visits
    15. 15 The Enigma of a Day 1.4%900 visits
    16. 16 Gare Montparnasse (The Melancholy of Departure), 1914 1.3%800 visits
    17. 17 The Enigma of the Oracle, 1910 1.3%800 visits
    18. 18 `La torre rossa` 1.1%700 visits
    19. 19 The Archaeologists, 1927 1.1%700 visits
    20. — Self Portrait, 1911 this painting 0.0%0 visits

    Together these works take 42.0% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 372 works by this artist, of which 195 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Self Portrait — Giorgio de Chirico

    A Portrait of Disquiet: De Chirico’s ‘Self Portrait’ (1911)

    Giorgio de Chirico's “Self Portrait,” painted in 1911, is not merely a depiction of an artist; it’s a meticulously crafted evocation of the anxieties and intellectual currents that defined the early years of modernism. This striking image, rendered with a precision born from his training in Athens and honed further in Munich, immediately arrests the viewer with its unsettling stillness. The subject, a man with a thoughtful gaze framed by spectacles and a neatly trimmed beard, stands before a window, lost in contemplation. His clasped hands suggest a profound introspection, while the distant look in his eyes hints at a world beyond immediate perception – a key element of de Chirico’s artistic vision.

    The Genesis of Metaphysical Painting

    Created during a pivotal moment in art history, “Self Portrait” exemplifies de Chirico's emergence as a leading figure in the movement he termed "metaphysical painting." Influenced profoundly by the philosophical writings of Nietzsche and Schopenhauer, de Chirico sought to depict not reality as it appears, but rather the subjective experience of reality – the unsettling feeling that lies beneath the surface of everyday life. This is achieved through a deliberate manipulation of perspective, scale, and atmosphere, creating an almost dreamlike quality. The painting’s power resides in its ability to evoke a sense of unease and disorientation, mirroring the anxieties of a rapidly changing world.

    Technique: De Chirico masterfully employs oil paint with a meticulous attention to detail, particularly evident in the rendering of textures – the fabric of the man’s clothing, the glass of his spectacles, and the weathered surface of the wall.

    Composition: The use of receding planes and ambiguous spatial relationships is central to the work's impact. The window acts as a portal, drawing the viewer into an indeterminate space, while the clock on the wall subtly reinforces the theme of time’s relentless passage and its potential for distortion.

    Symbolism and the Fragmented Self

    Beyond its technical brilliance, “Self Portrait” is laden with symbolic meaning. The boat glimpsed through the window – a recurring motif in de Chirico’s work – represents both escape and entrapment, suggesting a yearning for freedom intertwined with an awareness of confinement. The man's pose itself speaks to themes of isolation and alienation, reflecting the artist’s own feelings about his place in the world. The overall effect is one of psychological depth, inviting viewers to confront their own anxieties and uncertainties.

    Historical Context and Lasting Influence

    Painted in 1911, “Self Portrait” predates de Chirico’s later association with the Surrealists, yet it anticipates many of their key concerns. It stands as a crucial bridge between early modernism and the dreamlike imagery that would come to define the Surrealist movement. De Chirico's influence can be seen in the works of artists such as René Magritte and Max Ernst, demonstrating the enduring power of his vision. This piece continues to resonate with contemporary audiences, offering a poignant meditation on the nature of perception, identity, and the unsettling beauty of the subconscious.

    Artist and museum

    Artist

    Giorgio de Chirico

    Born in Volos, Greece

    A Dreamscape of the Mind: The Life and Art of Giorgio de Chirico

    Born in 1888 in Volos, Greece, to Italian parents—a Genoese mother and a Sicilian father—Giorgio de Chirico’s artistic journey was one steeped in both classical heritage and a burgeoning sense of modern alienation. His early education at the Athens Polytechnic laid a foundation in traditional techniques, but it was his subsequent studies in Munich that truly ignited his creative spirit. There, amidst the intellectual ferment of pre-war Europe, he encountered the works of Arnold Böcklin and Max Klinger, artists whose symbolic landscapes and haunting imagery would deeply resonate with his own developing aesthetic. Equally influential were the philosophical currents of the time—the writings of Friedrich Nietzsche, Arthur Schopenhauer, and Otto Weininger—which explored themes of existentialism, the irrationality of human desire, and the subjective nature of reality. These ideas would become central to de Chirico’s groundbreaking artistic vision.

    The Birth of Metaphysical Painting

    Around 1909, a unique style began to emerge from de Chirico's explorations—a style that he himself termed “Metaphysical” art. This wasn’t merely a stylistic innovation; it was a profound attempt to capture the hidden realities beneath the surface of everyday life, to reveal the unsettling poetry lurking within familiar spaces. A pivotal moment occurred during a visit to Florence and an experience in Piazza Santa Croce, which sparked his iconic ‘Metaphysical Town Square’ series. These paintings are characterized by their eerie stillness, long dramatic shadows, illogical perspectives, and the presence of classical architecture juxtaposed with unsettling elements like faceless mannequins and looming statues. The effect is deeply disquieting, evoking a sense of nostalgia, isolation, and an almost unbearable longing for something lost or unattainable. De Chirico founded the Scuola Metafisica, profoundly impacting Surrealism, though he would later distance himself from its interpretations of his work. His paintings weren’t intended as illustrations of dreams, but rather as attempts to depict a reality beyond the visible world—a realm where time and space are fluid, and the boundaries between consciousness and unconsciousness blur. Notable works like The Vexations of the Thinker, The Enigma of an Autumn Afternoon, and *The Song of Love* exemplify this haunting aesthetic, inviting viewers to contemplate the mysteries of existence and the fragility of human perception.

    A Shift in Style and a Lasting Legacy

    Following World War I, around 1919, de Chirico’s artistic path took an unexpected turn. He rejected his earlier metaphysical approach, embracing instead a more traditional neoclassical or neo-baroque style. This shift was met with considerable controversy; many critics lamented the perceived decline in quality and accused him of abandoning the innovative spirit that had defined his early work. However, de Chirico remained steadfast in his artistic choices, revisiting themes from his past but rendering them with a different aesthetic sensibility. He continued to paint and exhibit prolifically throughout his life, exploring various styles and subjects while maintaining a consistent commitment to craftsmanship and technical skill. Despite the criticism, his influence on subsequent generations of artists cannot be overstated. His innovative use of space, perspective, and symbolism challenged conventional artistic norms and paved the way for new forms of expression.

    Influences and Enduring Impact

    De Chirico’s work stands as a crucial bridge between the late 19th-century Symbolist movement and the rise of Surrealism in the early 20th century. He was directly influenced by artists like Arnold Böcklin and Max Klinger, whose evocative imagery resonated with his own fascination with mythology and the subconscious mind. Philosophers such as Nietzsche and Schopenhauer provided him with a framework for exploring themes of existential angst, alienation, and the search for meaning in a seemingly meaningless world. However, de Chirico’s influence extended far beyond Surrealism. Artists like René Magritte and Salvador Dalí were deeply inspired by his metaphysical paintings, adopting his techniques of juxtaposition, illogical perspective, and symbolic imagery to create their own dreamlike worlds. His work also impacted later movements such as Magic Realism, which sought to depict everyday reality with a heightened sense of mystery and psychological depth. Today, de Chirico’s paintings are exhibited in major museums worldwide, including the Museum dedicated to his work near the Spanish Steps in Rome, ensuring that his legacy as one of the most important figures in 20th-century art remains secure. He left behind not just a body of artwork but a new way of seeing—a way of perceiving the world as a place of hidden meanings, unsettling beauty, and enduring mystery.

    Key Influences & Artistic Lineage

    Influenced By: Arnold Böcklin, Max Klinger, Friedrich Nietzsche, Arthur Schopenhauer.

    Influenced: Surrealism, particularly artists like René Magritte and Salvador Dalí. His work also impacted later movements such as Magic Realism.

    Where to read more

    Find this online

    QR code linking to the download page for Self Portrait

    originaluniqueart.com/en/art/download/giorgio-de-chirico-self-portrait-8EWHEZ-en/

    Cite this artwork

    MLA
    Chirico, Giorgio de. Self Portrait. 1911, https://originaluniqueart.com/en/art/giorgio-de-chirico-self-portrait-8EWHEZ-en/
    APA
    Chirico, Giorgio de (1911). Self Portrait [Painting]. https://originaluniqueart.com/en/art/giorgio-de-chirico-self-portrait-8EWHEZ-en/
    Chicago
    Giorgio de Chirico. Self Portrait. 1911. https://originaluniqueart.com/en/art/giorgio-de-chirico-self-portrait-8EWHEZ-en/
    Harvard
    Chirico, Giorgio de (1911) Self Portrait. Available at: https://originaluniqueart.com/en/art/giorgio-de-chirico-self-portrait-8EWHEZ-en/

    Look closely

    Self Portrait — Giorgio de Chirico

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. Our catalogue files this work under: self-portrait, giorgio de chirico, existentialism. Do you agree? What would you add, or take away?
    4. Look back at The Child's Brain (1917), earlier in this guide. Name two things it shares with this work, and one that is different.
    5. Giorgio de Chirico was about 23 when this was made. What in it looks like the work of an artist at that stage?

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Questions & Answers

    Where can I find artworks similar to "Self Portrait" by Giorgio de Chirico?

    Works similar to "Self Portrait" are listed on the artwork's Similars page.

    How does "Self Portrait" fit into Giorgio de Chirico's themes and style?

    "Self Portrait" shares with Giorgio de Chirico's other works its Metaphysical Surrealism style and the recorded themes: nietzsche, schopenhauer, weininger, alienation, modernity, disquiet, symbolic landscapes, dreamlike scenes.

    What are the date and style of "Self Portrait" by Giorgio de Chirico?

    "Self Portrait" was created in 1911 as a work of the Metaphysical Surrealism movement. Date and movement anchor the artwork in art history.