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