Guido Vitali e Pier Matteo Carnaroli
For Giorgio De Chirico, the 1940s were the years of the war in Florence. During that time, he was hosted by the antiquarian Luigi Bellini, together with his Russian Jewish wife Isabella, born in Warsaw. He wrote literary works such as Il Signor Dudron, which appeared in Prospettive, along with theoretical articles in various periodicals. In 1945, he wrote the autobiographical texts Memorie della mia vita and 1918 – 1925 – Ricordi di Roma.
His research on the masters of ancient art became more assiduous. His sources of inspiration became Titian, Rubens, Delacroix, Watteau, Fragonard and Courbet.
In 1947, he moved to Rome in the house where he lived for the rest of his life at Piazza di Spagna 31. In the last phase of his life, he fought against his myth, and the subtle boundary between true and false, which he himself had nourished with the creation of Metafisica, which “means beyond physics, that is, outside our usual field of vision and our general knowledge”.
He is free to travel the infinite paths of fantasy, as in the painting Battaglia dated 1949, where warriors and horses are the protagonists of an adventure story, suspended between dream and waking, between reality and theatre.
Very close to the poetic world of the Pictor Optimus, Mario Tozzi, an artist with whom in 1926 he founded the Group des Sept (known as Les Italiens de Paris) in Paris, together with Campigli, De Pisis, Paresce, Severini and his brother Savinio. In Le porte-diner en étain of 1926, as in De Chirico, the scene is crystallised in an