Research questions:
Why is the statue facing the right where the light source is coming from?
Why does the statue have his hand in the air, like if he is reaching out to something?
Why is the city almost empty?
How did the two persons in the background get there?
Why are they the only ones in the picture? Does their existence have significant meaning to the painting? Is it possible the painter is one of them?
Why did the painter choose to take use of an one point perspective to emphasize the depth of the painting?
Why did the painter choose to depict everything in simple shapes and leave most of the spaces empty in the painting? Is that a symbol of Surrealism?
Why did the painter choose this specific scene and specific time to make a painting out of? Was there a special connection between this location and the painter?
Sources:
1. Alberton, Roberto, and Silvia Pegoraro. Giorgio De Chirico: un maestoso silenzio. Cinisello Balsamo, Milano: Silvana Editoriale, 2010.
2. Legrand, Gerard. Giorgio de Chirico. New York (etc.): Filipacchi Books, 1979.
3. Bolognesi, Eugenio, Fabio Benzi, Giorgio De Chirico, and Antonia Bolognesi. Alcestis: a Ferrara love story: Giorgio De Chirico and Antonia Bolognesi. Falciano (RSM): Maretti editore, 2016.
4. Baldacci, Paolo. De Chirico, Max Ernst, Magritte, Balthus: a look into the invisible. Firenze: Mandragora, 2010.
5. “Giorgio De Chirico Biography, Art, and Analysis of Works.” The Art Story. Accessed October 24, 2017. http://www.theartstory.org/artist-de-chirico-giorgio.htm.
6. Lyons, Michael J. World War II: a short history. Upper Saddle River, NJ: Pearson Prentice Hall, 2004.
7. Ades, Dawn. The colour of my dreams: the Surrealist revolution in art. Vancouver: Vancouver Art Gallery, 2011.
8. Piredda, Patrizia. The Great War in Italy: representation and interpretation. Leicester, UK: Troubador Publishing, 2013.
9. Le Muse Inquietanti – Maestri del Surrealismo. Turijn: Galleria (Civica) dArte Moderna, 1967.
10. DellArco, Maurizio Fagiolo. Giorgio de Chirico: gli anni trenta. Milano: Skira, 1995.