“Foundations of a great metaphysical style”: unraveling Giorgio de Chirico’s early palette

Abstract

Properly situating Giorgio de Chirico’s metaphysical works within his lifetime is complicated due to incomplete provenances, his practice of deliberately falsifying dates, and the known existence of forgeries. De Chirico’s palette may have altered over time, due to shifts in his personal taste, changes in availability of materials, and innovations in paints; elucidating his palette and variations thereof during his metaphysical period (1911–1919) offers analytical insights that complement traditional connoisseurship when attempting to correctly position a given work within his lifetime. To this end, eleven paintings from his metaphysical period, and two in his metaphysical style but painted in the 1940s and backdated to the 1910s, were analyzed by non-destructive portable X-ray fluorescence spectroscopy. Analysis of some works was further complemented with micro-destructive analysis by scanning electron microscopy coupled with energy dispersive x-ray spectrometry, as well as Raman and Fourier transform infrared spectroscopy. While the grounds of his paintings are variable, his metaphysical palette is consistent and includes: lead white, zinc white, ochres and umbers, magnetite, bone or ivory black, vermilion, chrome yellow, Naples yellow, copper acetoarsenite, chromium oxide green, and Prussian blue. Less commonly used pigments include cerulean blue and cadmium yellow, and the backdated paintings lack lead white and vermilion.