Acoris - The Surrealist Art Centre, London
Private collection, since 1971
Andros, Museum of Contemporary Art-Basil and Elise Goulandris Foundation, Glancing at the Century, 28 June – 20 September 1998, pp. 74-75, ill. p. 75
Giovanna dalla Chiesa, De Chirico scultore, Milan, Mondadori, 1988
De Chirico: The Centenary Sculptures | Le Sculture del Centenario, Turin, Allemandi, 1995
The mannequin figure plays an important role in the work of Giorgio de Chirico. It constitutes the most characteristic symbol of his Metaphysical Art. It firstly appeared in 1914, in the form of a mannequin used by tailors. Since then, the mannequin became ubiquitous in De Chirico’s artistic career, who made sure he had shaped it in his own way in order to render it his most universal, poetic, “metaphysical” representative possible.
From 1918, De Chirico’s mannequin only appeared alone and seated, to get away from any reference to a puppet or the Italian theatre. Its resemblance to a painter’s mannequin would also disappear, just like its combination with ancient sculptures. Having become a loner, consisting of accessories as diverse as palettes, easels, carved chests, set squares and other geometric tools, it was meant to assume various roles such as: poet, philosopher, archaeologist, prophet, wise man, muse, mythological hero, musician... In any case, it personifies the intellect, the memory, the sensitivity, floating on an imprecise, indefinite spatial-temporal framework, where everything makes sense, though.
As from 1919, when De Chirico radically changed route to adhere to a classical painting, inherited from the great masters, it seems that it would be difficult for him to bid farewell to the mannequin figure. However, he would return to it almost thirty years later, in the mid-1950s. At that time, De Chirico chose to systematically resume his old metaphysical themes, copy them, making sure he modified certain details, which were supposed to evoke his progress in technical matters. The Troubadour will be one of the themes most frequently repeated.
The natural continuation of the mannequin glorification will be its transformation into sculpture, from the mid-1960s. De Chirico’s first sculptures date back to the World War II. This first experience gave him a taste of manual work, which seemed to him far less restrictive than the act of painting. In 1968 he cast in bronze some of his most famous mannequins, including The Troubadour. He chose to use polished bronze, with golden patina, for small sizes. However, the passage to the third dimension emphasizes the unbalanced silhouette more intensely: despite its supports and cloak, this Troubadour seems to seek for balance as its protruding thighs and chest cannot lean on its too small legs. Moreover, the stitching traces and punctures at the joints level make it look more like a puppet. Nevertheless, its obvious physical fragility is moderated by the size of its head, transforming it into an idol: thus, the spirit resumes the leading role, making this musician look like a wise man with the appearance of a wise prophet.
