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André Breton: Der Surrealismus und die Malerei, 1928, in: Der Surrealismus und die Malerei, aus dem Französischen von Manon Maren-Grisebach, Hrsg. unter Beratung von Herbert Freiherr von Buttlar, Carl Linfert und Eduard Trier, in: Propyläen Monographien zur Kunst, Berlin 1967, p. 7-54, Here p. 9.

has been cited by the following article:

• TITLE: A Ghost Image—Giorgio de Chirico’s Portrait of Guillaume Apollinaire—About a Problem with Identity in the Genre “Portrait” in the 20th Century

  AUTHORS: Gudrun Latten

  KEYWORDS: Giorgio de Chirico, Guillaume Apollinaire, Metaphysical Art, Surrealism, Portrait, Genre Portrait, Semiotics, 20th Century Art

  JOURNAL NAME: Open Access Library Journal, Vol.12 No.8, August 29, 2025

  ABSTRACT: Many of Giorgio de Chirico’s motifs have an ambiguous identity. Academic discussions have frequently sought to establish the identity of the figures through perceived resemblances. This essay adopts a semiotic approach, as it enables a more precise differentiation between various forms of identity. With this essay, I discuss how the ambiguity of motif and picture behaves with a specific subject like Guillaume Apollinaire. I aim to emphasize the duality of the depiction and to propose an additional interpretation of the two figures in the image. In my view, the shadow represents uniqueness, while the classical bust alludes to reproducibility. The comparison to a Vera Icon sheds new light on the glorification of Apollinaire as the new prophet.