Nahmad Contemporary | Newsletter October 2020 View this email in your browser (https://mailchi.mp/5b817f70c05c/nahmad-contemporary-newsletter-september-5079296?e=c39411af91) http://www.nahmadcontemporary.com/ A R T F A I R S Frieze Masters Frieze Viewing Room (https://www.frieze.com/fairs/frieze-viewing-room) Oct. 9-16, 2020 | Preview Oct. 7-8, 2020 http://www.nahmadcontemporary.com/exhibitions/frieze-masters-london-2020 G I O R G I O D E C H I R I C O A S E L E C T I O N O F L A T E W O R K S On the occasion of the 2020 edition of Frieze Masters, hosted by Frieze Viewing Room, Nahmad Contemporary is pleased to present five masterworks created between 1966 and 1975 by Giorgio de Chirico (b. 1888, Volos, Greece; d. 1978, Rome, Italy). Employing strategies of appropriation and replication, these provocative late paintings capture the radical, enigmatic genius of the artist beyond his famed early years. After World War I, de Chirico—who was hailed a Surrealist visionary for his Metaphysical paintings of the 1910s—renounced his celebrated aesthetic by invoking the old masters and art of antiquity in his Neoclassical series (1920s–1950s). His return to traditional painting received harsh criticism during an era doggedly in favor of Modernism. In response, the artist embarked on his final, and arguably most daring, trajectory by replicating his earlier Metaphysical style. Thus, in the 1960s and 1970s, de Chirico brazenly reiterated themes from his popular early period, such as the Italian Squares, Muses, Trophies, Horses and Gladiators. While some paintings from this series embody a kitschy, stylistic take on the originals, other works are near- identical renditions. Believing that a painting’s original idea was more important than its artifact, the artist unabashedly backdated these reproductions—which he called verifalsi (true fakes)—to be synonymous with his earlier compositions. The appropriative strategies of de Chirico’s last series not only defied the expectations of his peers and critics, but also opposed modernism’s reverence for authenticity and uniquity. Some scholars have touted the late works as more progressive than the artistic legacy of Marcel Duchamp. The profound influence of these paintings extends to the rise of pop art—notably serving as a paramount source of inspiration for Andy Warhol—and the theoretical foundation for the post-modernist movement. View the Works (http://www.nahmadcontemporary.com/exhibitions/frieze-masters-london-2020) C U R R E N T E X H I B I T I O N W A T C H T H E V I D E O (http://www.nahmadcontemporary.com/exhibitions/superunknown-max-ernst-and-yves-tanguy-with-urs-fischer) S U P E R U N K N O W N Max Ernst & Yves Tanguy with Urs Fischer Until Nov. 5, 2020 http://www.nahmadcontemporary.com/exhibitions/superunknown-max-ernst-and-yves-tanguy-with-urs-fischer S U P E R U N K N O W N | Max Ernst and Yves Tanguy with Urs Fischer 0 5 : 2 0 Nahmad Contemporary is pleased to present SUPERUNKNOWN | Max Ernst and Yves Tanguy with Urs Fischer on view through Nov. 5, 2020. Featuring works across centuries in a jarring yet markedly relevant discourse, the exhibition includes iconic paintings by the Surrealist masters alongside the debut of an immersive wallpaper installation by Urs Fischer. Press Release and Video (http://www.nahmadcontemporary.com/exhibitions/superunknown-max-ernst-and-yves-tanguy-with-urs-fischer) N A H M A D C O N T E M P O R A R Y 980 MADISON AVE ⎮ NEW YORK NY 10075 [email protected] (mailto:[email protected]) +1 646 449 9118 Monday-Saturday, 10AM-6PM http://www.nahmadcontemporary.com/ https://www.instagram.com/nahmadcontemporary/?hl=en https://www.facebook.com/Nahmad-Contemporary-761104604029387/ https://www.twitter.com/Joe_Nahmad/ ============================================================ Giorgio de Chirico La Torre (The Tower), 1966. Oil on canvas 21.73 x 13.86 in. (55.2 x 35.2 cm) Piazza d'Italia con Arianna (Piazza d'Italia with Arianna), 1970-75. Oil on canvas 15.7 x 19.7 in. (50 x 40 cm) Il Grande Metafisico (The Great Metaphysician), 1971. Oil on canvas 35.4 x 27.5 in. (89.8 x 69.8 cm) Il Segreto del Porticato (Secret of the Portico), 1973. Oil on canvas 31.5 x 23.6 in. (80 x 60 cm) La Musa (The Muse), 1974. Oil on canvas 19.7 x 15.7 in. (50 x 40 cm) © 2020 Artists Rights Society (ARS), New York / SIAE, Rome Max Ernst © 2020 Artist Rights Society (ARS), New York Yves Tanguy © 2020 Estate of Yves Tanguy / Artists Rights Society (ARS), New York Urs Fischer © Urs Fischer, courtesy of the artist If you received this email in error or no longer wish to receive these mailings, you can click here to ** unsubscribe (https://nahmadcontemporary.us17.list-manage.com/unsubscribe?u=b70673086d081550990c36524&id=62f68f98d0&e=c39411af91&c=3b740a43bd)