De Chirico: Realm of Dreams

© 2010 by the author of this book Charlotte Buchan. The book author retains sole copyright to·his 01" h~r contributions to this book.

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De Chirico: Realm of Dreams

De Chirico: Realm of Dreams

Giorgio de Chirico was born iI;a 1888 and is best known for his metaphysical paintinqs produced between 1909 ana 1,919. ' Completed iii 1:913, T/;Ie Anxious Journey is one .of De Chirico's early paintings. With its; palette of grey, dark greens and black, the environment is fo"reboding, austere-looking archways suggestive of a prison or a labyrinth. Within, the sense of space and depth is inaccurate, fractured; made flat. Deep shadows blockade the porticoes. and from out of what little~orizon is visible, a locomotive looms threatenlnqly, 'De Chirico's 1914 painting, The Mystery and Melal"}choly,of a Street deplcts two shadows meeting on a piazza - a girl with a h'oop and another cast by a statue. The picture is,divided, constructed from 1:\No ditferent vanishing point's - a world of.darkness and one of light and both forever separate .. Gare Montparnasse (The Melancholy of Departure), painted in 1914', is suggestive of-a thesfre set rather than an actual place or time - an unreal 'backdrop for unreal events. The train and clock 'represent DElChirlco's- departure to jqin the army in World War 1. Trains in De Chirico's world-depict a . sense of travel in both time arid space, from here to there, from' young to did.
.

The works of De Chirico influenced surrealism. Rene' Magritte wanted hisown paintings to share the poeticism of De Chirico's metaphysical spaces and his influence on Salvador Dali is seen clearly in the' dream-like- milieu of Dali's art. As De Chirico himself once said "To beceme truly immortal, a work of art must escape all human limil.s: logic and common sense wifl only interfere .. But once these barriers 'are broken, it will enter the realms of chifdhped visions and dreams ... "

4

The paintings I choseto model as well as background models.

De Chirico: Realm of Dreams

6

The first try and getting to.grips on 'how to texture the world of De Chirico

The second attempt at texturing my scenes. Itwas recomended to project and use the paintings which the models were based upon to create the textures. However this proved-too time consuming and was not what I was aiming to do.

Ground plane

De Chirico: Realm of Dreams

De Chirico: Realm of Dreams

De Chirico: Realm of Dreams

De Chirico: Realm of Dreams

De Chirico: Realm of Dreams

De Chirico: Realm of Dreams

De Chirico: Realm of Dreams

De Chirico: Realm of Dreams

De Chirico: Realm of Dreams

Gare Montparnasse center plane

De Chirico: Realm of Dreams

De Chirico: Realm of Dreams

De Chirico: Realm of Dreams

De Chirico: Realm of Dreams

Gare Montparnasse

clock tower

The Anxious Journey left tunnel

De Chirico: Realm of Dreams

De Chirico: Realm of Dreams

At the start of modellinq the jhree De Chirico paintlnqs : chose, it was recommended lslrnply model.the biJildings and .objects ho,w they appeared in one-of th'e Maya cameras. This however-did not work, The models looked too extreme in termsof perspective except form the view in which they were made. As the painting doesn't abide by reality I needed to match'up my ground plane first. To do this lcreatec a camera to use instead of the inbtiilt ones in Maya. This wayl could get my perspective right by experimenting with the focal length and overscan settings. I did .this for all three pair:ltings so as to get'a balance between reality and De Chlrlco's reatlty.

The Mystery and-Melancholy of a Street (1'914)

De Chirico: Realm of Dreams

The 'Anxious Journey (1-913)

Gare Montparnasse (The Melanchely of Departure) (19 14)

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