Alberto Savinio, born Andrea Francesco Alberto de Chirico on August 25, 1891, in Athens, Greece, is a figure whose life and work transcend simple categorization. A man of many talents—painter, writer, composer, and playwright—Savinio was a polymath whose contributions to modern art and literature remain influential. As the younger brother of the famous painter Giorgio de Chirico, Savinio often lived in the shadow of his sibling, yet he carved out his unique place in the cultural history of the 20th century.
Early Life and Artistic Foundations
Alberto Savinio was born into a cultured and intellectual family. His father, Evaristo de Chirico, was a railroad engineer, and his mother, Gemma Cervetto, was an educated woman with a deep appreciation for the arts. The family’s Italian heritage and their residence in Greece provided a rich cultural environment that deeply influenced Savinio’s early development. From a young age, Savinio showed an extraordinary aptitude for music, studying composition and piano. By 1903, at the tender age of 12, he had already graduated with honors from the Athens Conservatory.
The death of his father in 1905 marked a significant turning point in Savinio’s life. The family moved to Venice and later to Milan before finally settling in Munich, Germany, in 1906. It was in Munich that Savinio and his brother Giorgio were exposed to the philosophical ideas of Friedrich Nietzsche, Arthur Schopenhauer, and Otto Weininger. These thinkers would profoundly influence both brothers, particularly in their views on art, existence, and the human condition.
The Move to Paris and the Birth of Alberto Savinio
In 1911, disillusioned by the lack of success in his musical compositions, Savinio moved to Paris, the epicenter of avant-garde art and culture at the time. Paris was a city teeming with creativity, where artists, writers, and intellectuals from all over the world gathered to push the boundaries of their respective fields. Here, Savinio found himself in the company of influential figures such as Guillaume Apollinaire, Pablo Picasso, Max Jacob, Francis Picabia, Blaise Cendrars, and Jean Cocteau.
It was during this period that Savinio adopted the pseudonym “Alberto Savinio,” marking a new chapter in his artistic career. The choice of a pseudonym was significant; it represented his desire to forge an identity separate from his brother, Giorgio, who was already gaining recognition as a painter. Under the name Alberto Savinio, he began to explore various forms of artistic expression, publishing his first work, “Les chants de la mi-mort,” in the avant-garde magazine “Les Soirées de Paris” in 1914.
Return to Italy and the Interwar Years
With the outbreak of World War I, Savinio returned to Italy in 1915, accompanied by his brother Giorgio. The war had a profound impact on Savinio, both personally and artistically. He and Giorgio were stationed in Ferrara, where they became involved with a circle of artists that included Carlo Carrà and Filippo De Pisis. This period was crucial for Savinio’s development as he began to shift his focus from music to literature and painting.
During his time in Ferrara, Savinio also forged relationships with key figures in the Italian literary scene, such as Ardengo Soffici and Giovanni Papini. To escape the monotony of military life, Savinio began writing for “La Voce,” a prominent Italian literary magazine. It was here that he published the first serialized chapters of his novel “Hermaphrodito,” a work that exemplifies his interest in themes of duality and androgyny.
After the war, Savinio’s life became increasingly intertwined with the literary and artistic movements of the time. He moved to Milan and later to Rome, where he became a central figure in the Italian avant-garde. In 1924, he founded the “Compagnia del Teatro dell’Arte” with the legendary playwright Luigi Pirandello. Although his play “Capitano Ulisse” was never staged, his involvement in the theater marked an important phase in his career.
Artistic Evolution and Return to Paris
In 1926, Savinio married Maria Morino, an actress from Eleonora Duse’s theatrical company. The couple moved to Paris the following year, where they became parents to their daughter Angelica in 1928. During this period, Savinio began to focus more intensively on painting, a medium through which he could further explore the surreal and metaphysical themes that had long fascinated him.
Savinio’s paintings are characterized by their dreamlike quality, often depicting fantastical scenes and hybrid creatures that challenge the viewer’s perception of reality. His work was influenced by the surrealist movement, although he maintained a distinct style that set him apart from his contemporaries. In 1933, Savinio returned to Italy, where he continued to paint and write, becoming a regular contributor to “La Stampa” and other literary magazines.
His literary works during this period, such as “Tragedia dell’infanzia” and “Achille innamorato (Gradus ad Parnassum),” reflect his ongoing exploration of childhood, memory, and myth. Despite his prolific output, Savinio often found himself at odds with the fascist regime in Italy. His satirical piece “Il sorbetto di Leopardi,” published in the magazine “Omnibus,” earned him the ire of the authorities, leading to increased scrutiny and censorship.
The War Years and Later Life
The outbreak of World War II marked another turbulent period in Savinio’s life. During the war, he published “Dico a te, Clio” and “Infanzia di Nivasio Dolcemare,” works that delved into his memories of childhood and his complex relationship with the past. Savinio’s connection with the publisher Valentino Bompiani brought him into contact with other prominent intellectuals of the time, including Giacomo Debenedetti, Massimo Bontempelli, and Corrado Alvaro.
In 1943, as the war intensified, Savinio was forced into hiding after learning that he was on a list of suspected antifascists. This period of hiding was a time of reflection and creativity for Savinio, who wrote “La nostra anima” and “Ascolto il tuo cuore, città” during these years. After the war, he emerged as a respected cultural critic, writing for the “Corriere della Sera” and winning the prestigious Saint Vincent Prize for journalism in 1949.
Savinio’s later works continued to explore the themes that had preoccupied him throughout his life—myth, memory, and the subconscious. In 1951, he wrote “Vita dell’uomo,” a tragicomedy that served as an allegory for the human condition. The following year, he designed the costumes and sets for a famous production of Rossini’s “Armida” at the Maggio Musicale Fiorentino, which starred the legendary soprano Maria Callas.
Legacy and Influence
Alberto Savinio’s death on May 5, 1952, in Rome, marked the end of a remarkable and multifaceted career. He was 60 years old. Despite living in the shadow of his brother Giorgio for much of his life, Savinio’s contributions to modern art and literature are now recognized as being equally significant.
Savinio’s legacy is one of intellectual curiosity and artistic innovation. His work defies easy categorization, blending elements of surrealism, metaphysical art, and modernism into a unique and compelling vision. His influence can be seen in the work of later artists and writers who sought to explore the boundaries of reality and imagination.
In recent years, there has been a renewed interest in Savinio’s work, with exhibitions and retrospectives dedicated to his art and literature. Scholars and critics continue to study his writings and paintings, uncovering new insights into his complex and often enigmatic body of work. Today, Alberto Savinio is celebrated not only as the brother of Giorgio de Chirico but as a pioneering artist and thinker in his own right.
Conclusion
Alberto Savinio was a true Renaissance man of the 20th century, a figure whose life and work encapsulate the spirit of modernist experimentation. His contributions to literature, painting, music, and theater have left an indelible mark on the cultural history of the modern era. Savinio’s legacy is one of constant exploration, challenging the boundaries of artistic expression and delving into the depths of the human psyche.
As we continue to engage with Savinio’s work, we are reminded of the power of creativity to transcend the limitations of time and place. His life is a testament to the enduring impact of art and ideas, and his work continues to inspire new generations of artists, writers, and thinkers.
