Serving in Ferrara during World War I, Giorgio de Chirico exchanged his trademark cityscapes for cloistered rooms, stacked with wooden slats and implements, boxes, and biscuits. Pressing fragments close to the picture plane, these “Metaphysical” interiors appear given over to stifling confinement. James Thrall Soby once described them as “still lifes . . . for which the word ‘claustrophobic’ does not seem too strong.” A close reading of these shallow spaces tells a different story: one of willful claustrophilia, of interiority as the site of far-flung exploration, beginning and ending with the wood that supports the canvas itself.

中文翻译：

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乔治·德·奇里科（Giorgio de Chirico）的故意保卫慈善事业：费拉拉内饰，1915–18年

第一次世界大战期间，乔治·基里科（Giorgio de Chirico）在费拉拉（Ferrara）任职，将他标志性的城市风光换成了隐蔽的房间，里面堆满了木板，工具，盒子和饼干。将碎片压在靠近图片平面的地方，这些“形而上”的内部看起来就象是窒息的封闭。詹姆斯·索尔·索比（James Thrall Soby）曾经将它们描述为“静物”。。。因此，“幽闭恐惧症”这个词似乎不太强壮。” 仔细阅读这些浅层空间会得出一个不同的故事：故意的青翠，其中之一是内部空间，是远距离探索的场所，始于支撑画布本身的木材。