In conversation with Richard Francis of the Tate Gallery in 1984 Penrose said of this cast, 'it was well known in Paris. T04109 is one of a small group of paintings of the period 1913-14 which show fruit and vegetables. Using, The presence of classical-type statuary in de Chirico's paintings has led some commentators to suggest that the artist was preoccupied with the ancient world and was a harbinger of the revival of interest in classicism in the 1920s. Ici on a le thème de l'amour perdu avec le verbe revenir. 1 image du tableau L’Incertitude du poète de Giorgio de Chirico à imprimer au format A4; 2 feuilles canson A4 de couleurs différentes; crayons de couleur; ciseaux; colle; Etape 1 Découpe les éléments importants du tableau (la sculpture, les bananes, les arcades). Maurizio Fagiolo dell'Arco has suggested as a source for de Chirico's preoccupation with the rounded arch Böcklin's painting 'Arcades in a Landscape', 1872 (repr. Le poète est loin de l’imitation et cependant très proche d’une écriture symbolique qui parle à tout un chacun, selon son degré d’implication et d’intuition. cat. Paolo Baldacci in 'Le Classisme chez Giorgio de Chirico: Théorie et méthode', (Cahiers du Musée national d'art moderne, Paris, no.11, 1983, pp.18-31) has shown that where de Chirico used a classical model in his paintings he copied not the originals in museums but illustrations in manuals of drawing such as the Cours Elémentaire de Julien Later in life de Chirico re-used many of the elements of his early works which had brought him fame. Among the fifty-nine canvases exhibited was 'The Uncertainty of the Poet'. His father died when de Chirico was eleven and this may account for the artist's typically child-like depiction of trains. The main difference in the imagery of the two paintings is that in the later work there is no train or ship's mast to be glimpsed beyond the wall. The particular source of the title of T04109, however, is unknown. In this context it is often noted that de Chirico spent his childhood in Greece. The Uncertainty of the Poet (L'Incertitude du poète) | Art UK The Uncertainty of the Poet (L'Incertitude du poète) De Chirico’s quiet square evokes the classical arcades and statuary of antiquity (the sculpture is a torso of Aphrodite). The identity of the classical sculpture depicted in 'The Uncertainty of the Poet' has not been firmly established. , 2 April 1985, p.19 repr. The flatness of de Chirico's handling of volumes, together with his imagery's air of irreality, prompted some critics in 1914 to liken his pictures to theatrical scenery. Magritte may well have seen L’incertitude du poète when he lived in Paris in the late 1920s and early 1930s, at which time it was owned by the poet Paul Eluard. La dernière modification de cette page a été faite le 12 juin 2012 à 11:50. The imagery of 'The Uncertainty of the Poet' - fruit and a classical cast, mysteriously juxtaposed in front of a shadowy arcade - is typical of the so-called 'metaphysical' phase of de Chirico's work in the period 1911-14. repr. « Mon rêve familier » extrait des Poèmes Saturniens écrit en 1866, est un poème de Paul VERLAINE , écrivain et poète français du 19 ème siècle. Jaccottet : dans l’incertitude du questionnement : L’Effraie. The distorted perspective and shadows undermine the conventions of pictorial space and time. cat. Although not of the same dimensions, this work displays a similar combination of a plaster or stone sculpture (here a classical male head) and exotic fruit (bananas and two pineapples). In a pencil sketch of 1913 entitled 'Joy' (repr. The distorted perspective and shadows undermine the conventions of pictorial space and time. Voici une oeuvre de Giorgio de Chirico que j'ai illustrée d'un poème  Sur une place mélancolique et grise. De Chirico was attracted to classical statuary in part because of the tradition of academic art with which it was associated. In contrast, the passing train and perishable bananas suggest a sense of the contemporary and immediate. Tate Gallery exh. )], , Milan 1984, col.pl.12b, as 'L'incertezza del poèta', The imagery of 'The Uncertainty of the Poet' - fruit and a. , 15 Nov.1913, quoted in Willard Bohn, 'Metaphysics and Meaning: Apollinaire's Criticism of Giorgio de Chirico', Apollinaire was so close to the artist that it is believed he titled some of de Chirico's. - invented by the Romans. Des milliers de livres avec la livraison chez vous en 1 jour ou en magasin avec -5% de réduction ou téléchargez la version eBook. Baldacci has suggested that the conjunction in de Chirico's works of the modern and the antique (even if mediated by recent academic art) reflects the influence on the artist's thought of Nietzsche and his concept of an eternal present in which there is no fundamental distinction between past and future (p.23). Inscribed 'Georgio de Chirico | M.CM.XIII' b.l. . The combination of the plaster cast and bananas has sexual overtones which is difficult not to regard as having been intentional. It appears to be an Aphrodite-type cast which had its origins in the practices of nineteenth century. 1982, p.152, pl.27) and 'The Dream of a Poet', 1914 (Peggy Guggenheim Collection, Venice, repr. (col.); Matthew Gale, 'The uncertainty of the painter; De Chirico in 1913', Burlington Magazine, vol.130, April 1988, pp.273-5. In conversation with Richard Francis of the Tate Gallery in 1984 Penrose said of this cast, 'it was well known in Paris. Leçons. Purchased from the executors of Sir Roland Penrose (Grant-in-Aid) with assistance from the National Art-Collections Fund (Eugene Cremetti Fund), the Carroll Donner Bequest, the Friends of the Tate Gallery and members of the public 1985 Tate Gallery exh. 1982, p.155 in col.). or in archaelogical texts such as Saloman Reinach's Répertoire de Ia Staruaire grèque et romaine, published in several volumes 1897-1930. p.22); De Chirico, Tate Gallery, Aug.-Oct. 1982, (no number, repr. L’allitération en « r » et en « t » très forte dans les quatrains (« étrange et pénétrant », v. 1 ; « autre », « comprend », v. 4 et 5 ; « cœur », « transparent », « d’être », v. 5-6 ; « mo… Their images of mysterious and often melancholic figures, drawn typically from mythological tales, can be seen as the forerunners of de Chirico's seemingly anxious and weary statues. Le ciel m’accompagne, un soleil charmant. (eds. Like the earlier images of statues, the plaster casts functioned as symbols of the human presence, from which the temporal and transient aspects had been stripped, and can be seen as an important element in the artist's rejection of naturalism. L'Incertitude du poète (en italien : L'incertezza del poeta) est une huile sur toile peinte par l'artiste italien Giorgio De Chirico, en 1913 et conservée à la Tate Modern de Londres depuis 1985 . Verlaine appartient au mouvement littéraire symboliste, ce mouvement consistant à dépasser la représentation réaliste du monde pour plutôt utiliser des images pour suggérer les sentiments et les idées abstraites. He arrived in Paris from Italy in July 1911 and rapidly attracted critical attention through exhibiting in the Salon d'Automne and Salon des Indépendents. (eds.)] The presence of classical-type statuary in de Chirico's paintings has led some commentators to suggest that the artist was preoccupied with the ancient world and was a harbinger of the revival of interest in classicism in the 1920s. Me reviendras-tu mon Antonin? Dans les œuvres de la période du début du XIXe siècle, de Chirico trouve assez souvent des images de bananes. Rennes : Presses universitaires de Rennes, 2005 (généré le 26 décembre 2020). It was on sale in lots of shops round Montparnasse. The wind-filled sails of such a ship was a much-repeated motif in de Chirico's pre-War works and was often associated with the figure of Ariadne, represented generally as a classical statue. Arcaded passages of the style depicted by de Chirico, however, can be found in Munich and, in particular, in Turin, a city about which Soby records that its arcades are 'so extensive that a local author has written a book tracing a full day's walk which may be taken without once leaving their protective shade' (Soby 1956, p.35). L’Ignorant. In T04109 his preoccupation with an academic style of drawing can be seen in his use of heavy black outlines and obvious demarcation of areas of shadow. Le seul choix possible est une question d'engagement. La volonté d'assumer sa vulnérabilité et de l'embrasser détermine la profondeur du courage et la clarté du but. 1981, p.17 no.8, as 'Ulysse et Calypso'), for example, was quoted directly by de Chirico in 'Enigma of the Oracle'. The mast shown above the wall in 'The Uncertainty of the Poet' can be seen as related to this earlier image of heroic departure. 11-12, 1919, p.18). Exh: , Rome 1925, pp.8-9, quoted in Soby 1956, p.33). Published in: The shrouded figure in Böcklin's 'Ulysses and Calypso', 1883 (repr. L’incertitude du poète. cat. James Soby has noted that the prevalence of statuary in Turin was likely to have confirmed the painter's respect for Schopenhauer's essay 'On Apparitions' (Soby 1956, p.35). 1982, p.133). De Chirico’s quiet square evokes the classical arcades and statuary of antiquity (the sculpture is a torso of Aphrodite). Toute la subtilité du poème réside dans ce côté répétitif de ce vers de trois syllabes dont l'isolement reflète l'incertitude du poète, son angoisse et sa solitude. Freely available in Paris, this cast featured in works by other artists. In Turin all is apparitional. L’incertitude du poète – Giorgio de Chirico, Philosopher and poet by Giorgio de Chirico, El regreso de Ulises – Giorgio de Chirico, Rencontre de Saint Antoine le Grand et Paul l’Ermite – David Teniers, Au seuil de l’éternité – Vincent van Gogh, Portrait de l’artiste Ge – Nikolay Yaroshenko, Vue de la ville idéale – Piero della Francesca, La main de Michel-Ange – Michelangelo Buonarroti, Kossa (Temps de souffrance) – Grigory Myasoedov. There is no evidence, however, that de Chirico read or was interested in the writings of Freud, for example, and thus any discussion of the extent to which the artist was conscious of the sexual symbolism of the other elements of this painting, for example, the train and arcades, appears to be, The arcade shown in the right hand side of. In T04109 the impossible conjunction of the foreground and background, linked by the exaggerated diagonal of the arcade, emphasises the fact that the space in the painting is not intended to be naturalistic. , New York 1956, pp.66 and 67-8, repr. 1982, p.148 in col.) The image of the train appears to be an autobiographical reference by the artist to his father's profession of railway engineer. ACCUEIL TOP 100; TOP 500; TOP 1000; EN VITRINE PROCESS Le temps accordé au présent (poésie) 2020. cat. The imagery of tropical fruit undoubtedly introduced an element of exoticism into de Chirico's work, but it can also be seen in terms of the tradition of the still life painting. does not reveal a picture; but in this case the picture will not be a faithful copy of that L’incertitude. Le lecteur a le choix de jouer et de voir au-delà de l’œil du créateur et, à partir de ses mots, de reproduire aussi son propre tableau comme artefact littéraire. In an angry letter of protest at this comparison which he sent to the newspaper Paris-Midi, de Chirico denied that his works had anything to do with scenery, a fact he said was proved by their titles. In contrast, the passing train and perishable bananas suggest a sense of the contemporary and immediate. Over the top of the wall we glimpse a train and the mast of a ship which appear to symbolise the voyage of the mind or soul beyond the terrain of the known and familiar. Apollinaire was so close to the artist that it is believed he titled some of de Chirico's paintings of this period. Tate Gallery exh. which has caused its revelation, but will resemble it vaguely, as the face of someone seen in a dream resembles that person in reality. Freely available in Paris, this cast featured in works by other artists. L’incertitude Je divague entre les mots frivoles. )], , Milan 1979, p.91, repr. We would like to hear from you. Ainsi, l’expression complète enjoint de cueillir le jour présent sans se soucier du lendemain. 1. His father died when de Chirico was eleven and this may account for the artist's typically child-like depiction of trains. Tate Gallery exh. Using gouache and collage the Surrealist artist Max Ernst transformed the front and back views of the cast shown in a postcard. 2. In the spring of 1922 Guillaume held an exhibition of de Chirico's work for which Andre Breton, who later became the leader of the Surrealist group, wrote the catalogue preface. ; Robert Bedlow, 'Tate spends £1m on painting Lord Gowrie rejected', Daily Telegraph, 2 April 1985, p.19 repr. Lecture non abusive, de l’intérêt; Recherche, apaisement, cœur léger. On the right hand side of the painting there is also a sharply receding arcade and at the horizon a wall and a white tower behind which runs a train at full steam. L’ambiguïté de ce rêve se traduit par un balancement entretristesse et consolation. Poète des sables __ 8 avril 2016 8 avril 2016 _Poème_0 . De Chirico was attracted to classical statuary in part because of the tradition of academic art with which it was associated. It appears in a painting by Henri Matisse, 'Plaster Torso and Bouquet', 1919 (Museu de Arte de São Paulo, repr. (site éditeur) The poet Paul Eluard wrote: ‘these squares are outwardly similar to existing squares and yet we have never seen them ... We are in an immense, previously inconceivable, world.’. In this painting two ancient Greeks watch the departure of a square-rigged ship. L’exposition Giorgio de Chirico.La peinture métaphysique qui devait se tenir au musée de l’Orangerie à partir du 1er avril, a pu être vue du 16 septembre au 29 octobre 2020 et a remporté un réel succès d’estime. Qui sait,un jour tu atteindra le rivage. , Oxford 1978, pp.136-7 repr., as 'The Poet's Disquiet'; Alain Jouffroy, 'La Metafisica di Giorgio de Chirico' in [Isabella Far de Chirico and Domenico Porzio (eds. Always that size'. In this period de Chirico had a contract with the dealer Paul Guillaume who in return for an agreed number of canvases per year paid the artist a monthly stipend. Nous utilisons un matériel de … In the four years he was in Paris before the War he is known to have had four different apartments. , 1986, pp.68-9 repr. However, the artist himself categorically denied that he was influenced by Greece (see Eugenio La Rocca, 'L'archaelogia nell'opera di de Chirico' in Giorgio de Chirico 1888-1978, exh. And in all this, technique plays no role; the whole sensation (eds.)] Ce mouvement est présent dans les sonorités. . James Thrall Soby, The Early Chirico, New York 1941, reprinted 1969, p.32, pl.12; Italo Faldi, Il Primo de Chirico, Venice 1949, p.17, pl.IX, as 'L'incertezza del poeta'; James Thrall Soby, Giorgio de Chirico, New York 1956, pp.66 and 67-8, repr. Cette expression est interprétée comme une invitation à jouir de l’ins… De Chirico first addressed the theme of voyages in 'The Departure of the Argonauts', 1909 (private collection, Rome, repr. p.184; René Passeron. Also repr: Art News and Review, I, 23 April 1949, p.5; Marcel Jean, The History of Surrealist Painting, 1960, p.45; [Isabella Far (ed. Does this text contain inaccurate information or language that you feel we should improve or change? L'anacoluthe traduit bien l'incertitude du poète car il doute du retour de Marie. Le choix de ces images est sexuellement motivé, mais peut aussi être dû à des souvenirs de promenades nocturnes avec Guillaume Apollinaire. Image dans sa taille originale : 7.38 Mo | Voir Télécharger. L’incertitude du poète (1913), Chant d’amour (1914) et Le mystère et la mélancolie d’une rue (1914) figurent parmi les plus grands tableaux du début de la «période métaphysique» de De Chirico. - invented by the Romans. Max Ernst Werke 1929-1938, Cologne 1979, p.77 no.1713). Contrasting his paintings with the naturalism, or attention to the surface reality of things, found in the works of the Impressionists and Cubists, de Chirico wrote of the relationship between reality and a linear transcription of it in a manuscript dated 1911-5: A picture reveals itself to us, while the sight of something ; Jean Clair, 'Dans la terreur de l'histoire', in Giorgio de Chirico, exh. Baldacci has suggested that the conjunction in de Chirico's works of the modern and the antique (even if mediated by recent academic art) reflects the influence on the artist's thought of Nietzsche and his concept of an eternal present in which there is no fundamental distinction between past and future (p.23). In all this there is something more mysteriously plaintive than in French architecture. These works include 'The Soothsayer's Recompense', 1913 (Philadelphia Museum of Art, repr. p.184; René Passeron, Phaidon Encyclopedia of Surrealism, Oxford 1978, pp.136-7 repr., as 'The Poet's Disquiet'; Alain Jouffroy, 'La Metafisica di Giorgio de Chirico' in [Isabella Far de Chirico and Domenico Porzio (eds. cat., Galleria Nazionale d'Arte Moderna, Rome 1982, I, p.32). Purchased from the executors of Sir Roland Penrose (Grant-in-Aid) with assistance from the National Art-Collections Fund (Eugene Cremetti Fund), the Carroll Donner Bequest, the Friends of the Tate Gallery and members of the public 1985, Sold by the artist to Paul Guillaume, Paris from whom bt by Paul Eluard, Paris 1922 by whom sold to Roland Penrose, London 1938. , Galerie Paul Guillaume, Paris, March-April 1922, (4 as 'L'incertitude du poète'); , Hayward Gallery, Jan.-March 1978 (1.6, repr. Tate Gallery exh. Photographs showing the painting hanging on the wall of Penrose's farmhouse in Sussex are reproduced in Roland Penrose 1981, p.198 fig.493 and in Bryan Robertson, John Russell, Lord Snowdon, Private View, 1965, p.32. [Werner Spies (ed.)] C'est une musique trébuchante, une mélodie de fausses notes où la plainte se fait peu à peu silence. Cette reproduction de De Chirico, L'incertitutde du poète reproduit l’idée qui a motivé De Chirico lors de sa création, plus que d’être seulement une superbe reproduction dans les détails et les couleurs. L'incertitude par Epervier. Elements of the imagery of T04109 are found in a number of de Chirico's works of the mid 1910s and later. Departure and arrival were constant themes in de Chirico's paintings and, as is clear from titles such as 'The Anxious Journey', 1913 and 'Gare Montparnasse (Melancholy of a Departure)', 1914, were associated in the artist's mind with a sense of melancholy and unease. Prov: (col.); Matthew Gale, 'The uncertainty of the painter; De Chirico in 1913'. In the spring of 1922 Guillaume held an exhibition of de Chirico's work for which Andre Breton, who later became the leader of the Surrealist group, wrote the catalogue preface. Giorgio de Chirico, L’incertitude du poète, 1913, huile sur toile, 106 x 94 cm, Tate, acheté avec l'aide du Fonds Art (Fonds Eugene Cremetti), du legs Carroll Donner, des Amis de la Tate Gallery et du public en 1985 Photo:©Tate, London 2019 © SABAM Belgium 2019. The origins of de Chirico's use of classical statuary lie partly in his fascination with the work of Arnold Böcklin and Max Klinger which he saw whilst studying at the Academy of Fine Arts in Munich in 1905-10. Lit: , Milan 1981, p.302 no.354, as 'Mystère automnale turinois'), shows a nearly identical arrangement of cast, bananas, arcade, shadows and distant wall. , Paris 1979, p.92, repr. Un bouquin astucieux, joie festive. However, the artist himself categorically denied that he was influenced by Greece (see Eugenio La Rocca, 'L'archaelogia nell'opera di de Chirico' in, , exh. At the time of the opening of the exhibition in March the poet Paul Eluard was away in Düsseldorf and returned to Paris only in May. Certainly Magritte and Eluard came to know each other well during this period, and would remain in touch, sometimes collaborating and creating dialogues through their respective works. Dans “L’incertitude du poète”, un tas de bananes semble sortir du sein féminin ou, inversement, s’en approcher. cat., Musée national d'art moderne, Centre Georges Pompidou, Paris 1983, p.45, fig.10 and p.147 no.11 (col.), as 'L'Incertitude du poète'; 'Masterpiece Lord Gowrie turned down'. Soby 1956, p.83), for example, a small toy-like train runs on a track around the base of a statue of a male figure in modern dress and a tower. Bananas are included in 'Gare Montparnasse (The Melancholy of Departure)', 1914 (Museum of Modern Art, New York, repr. ; Robert Bedlow, 'Tate spends £1m on painting Lord Gowrie rejected'. A. Bates in a letter to the Tate Gallery dated 6 October 1978 suggests that a source for the motif of a long wall may have been the perimeter wall surrounding Volos, the small town in Greece where de Chirico spent his childhood. ; Geraldine Norman, 'Gallery pays £1m. , exh. L'Incertitude du poète (en italien : L'incertezza del poeta) est une huile sur toile peinte par l'artiste italien Giorgio De Chirico, en 1913 et conservée à la Tate Modern de Londres depuis 1985. The Roman arcade is a fatality. p.147 in col., as 'L'incertitude du poète'); Surrealism in the Tate Gallery Collection, Tate Gallery Liverpool, May 1988-March 1989, (no number, repr. Tout au long de sa vie créative, de Chirico utilisera une combinaison d’éléments végétaux et de sculptures antiques. cat. Vivre cet ailleurs (roman) 2019. And in all this, technique plays no role; the whole, The anti-naturalism of de Chirico's paintings was perhaps most clearly signposted in his abandonment of traditional. There is no evidence, however, that de Chirico read or was interested in the writings of Freud, for example, and thus any discussion of the extent to which the artist was conscious of the sexual symbolism of the other elements of this painting, for example, the train and arcades, appears to be post hoc This presentiment of something beyond everyday appearances was an essential element in the atmosphere of nostalgia and longing created in de Chirico's 'metaphysical' pictures. p.147 in col., as 'L'incertitude du poète'); , Tate Gallery Liverpool, May 1988-March 1989, (no number, repr. , Venice 1949, p.17, pl.IX, as 'L'incertezza del poeta'; James Thrall Soby. p.37 in col.) In contrast, the passing train and perishable bananas suggest a sense of the contemporary and immediate. , published in several volumes 1897-1930. La passion de l'incertitude, Dorian Astor, L'observatoire Eds De. Ici, nous pouvons certainement. The identity of the classical sculpture depicted in 'The Uncertainty of the Poet' has not been firmly established. In an article in 1919 he urged his fellow artists to return to the study of statues and to what he called the 'religion' of drawing as a means of escaping, , de Chirico denied that his works had anything to do with scenery, a fact he said was proved by their titles. At the same time, the wall serves perhaps as a metaphor for the divide between the here and the hereafter. Introduced into de Chirico's work in 1913, images of plaster casts allowed the artist to depict the human figure as part of a still-life arrangement, in scale and interest no more significant than, for example, the fruit beside it. Partant de cet aphorisme provocant de Nietzsche : « Ce n’est pas le doute qui rend fou, c’est la certitude », Dorian Astor s’est mis en quête d’un scepticisme heureux à la Montaigne – il sait toutefois que l’incertitude reste une inquiétude inhérente à la vie et aux signes équivoques du monde, tissée de crainte, de courage, mais aussi de curiosité passionnée. It is possible that the 'golden and sweet' bananas of T04109 fulfilled a similar function and, together with the cast of a female torso, were meant to offer a contrast in their physicality and appeal to the senses to the idea of a voyage, intellectual or spiritual, symbolised by the train beyond the distant wall. 1982, p.160 col.pl.40). The mystery de Chirico found in the arcade appears to have been suggested to him partly by its simple geometrical form. 423 (col.), as 'Torment of the Poet'; Jean-Charles Gateau, Paul Eluard et la peinture surréaliste (1910-1939), Geneva 1982, p.94. Le musée de l'Orangerie revient sur les années les plus radicales de Giorgio de Chirico, celles où il a inventé le langage singulier de sa peinture "métaphysique" (jusqu'au 14 décembre). Tate Gallery exh. 1982, p.134 pl.4, dated 1910). ; Jean Clair, 'Dans la terreur de l'histoire', in. 423 (col.), as 'Torment of the Poet'; Jean-Charles Gateau, , Geneva 1982, p.94. The main difference in the imagery of the two paintings is that in the later work there is no train or ship's mast to be glimpsed beyond the wall. Droit d'auteur: les textes sont disponibles sous licence Creative Commons attribution, partage dans les mêmes conditions; d’autres conditions peuvent s’appliquer.Voyez les conditions d’utilisation pour plus de détails, ainsi que les crédits graphiques. Giorgio de Chirico (1888-1978) L’Incertitude du poète, 1913, Huile sur toile - 106 × 94 cm Londres Tate Photo : Tate Voir l´image dans sa page. The Roman arcade is a fatality. Inscribed 'Georgio de Chirico | M.CM.XIII' b.l. In the arc there is still something unaccomplished which needs to be and can be completed: it still permits presentiment' (quoted in Soby 1956, p.40). And less ferocious too. Its voice speaks in enigmas filled with a strangely Roman poetry (quoted in Soby 1956, p.247). La seule chose qui reste inchangée est la sensation d’instabilité et d’irréalité, traversant tout le travail de Chirico. The Uncertainty of the Poet From a manuscript written in the period 1911-15 it is plain that de Chirico himself associated arcades and their shadowy internal spaces with a sense of mystery: There is nothing like the enigma of the Arcade He passed through the city en route from Florence to Paris in 1911 and although he stayed there for only a few days the neo-classical arcaded squares and abundant statuary made a lasting impression on him. explores the life and times of a work in the Tate …. 1982, p.142) and 'The Transformed Dream', 1913 (St Louis Museum of Art, repr. )], de Chirico, New York 1968, pl.29; Catalogo Generale Giorgio de Chirico: Opere dal 1908 al 1930, Rome 1976, vol.1, no.13, as 'L'incertezza del poeta'; Giorgio de Chirico "Le rêve de Tobie": un interno ferrarese, 1917 e le origini del Surrealismo, Rome 1980, p.62 no.78, as 'L'Incertitude du poète'; Bryan Robertson, John Russell, Lord Snowdon, Private View, 1965, p.32; [Maurizio Fagiolo dell'Arco (ed.

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