(from Wikipedia) Giorgio de Chirico (July 10, 1888 – November 20, 1978) was a pre-Surrealist and then Surrealist Italian painter born in Volos, Greece, to a Genovese mother and a Sicilian father. He founded the scuola metafisica art movement. His surname is traditionally written De Chirico (capitalized De) when it stands alone.
After studying art in Athens and Florence, De Chirico moved to Germany in 1906 and entered the Academy of Fine Arts in Munich, where he read the writings of the philosophers Nietzsche, Arthur Schopenhauer and Otto Weininger and studied the works of Arnold Böcklin and Max Klinger.
He returned to Italy in the summer of 1909 and spent six months in Milan. At the beginning of 1910, he moved to Florence where he painted the first of his ‘Metaphysical Town Square’ series, The Enigma of an Autumn Afternoon, after the revelation he felt in Piazza Santa Croce. He also painted The Enigma of the Oracle while in Florence. In July 1911 he spent a few days in Turin on his way to Paris. De Chirico was profoundly moved by what he called the ‘metaphysical aspect’ of Turin: the architecture of its archways and piazzas. It was the city of Nietzsche. De Chirico moved to Paris in July 1911, where he joined his brother Andrea. Through his brother he met Pierre Laprade, a member of the jury at the Salon d’Automne, where he exhibited three of his works Enigma of the Oracle, Enigma of an Afternoon and Self-Portrait. During 1913 he exhibited his work at the Salon des Indépendants and Salon d’Automne, his work was noticed by Pablo Picasso and Guillaume Apollinaire, he also sold his first painting, The Red Tower. In 1914, through Guillaume Apollinaire, he met the art dealer Paul Guillaume, with whom he signed a contract for his artistic output.
At the outbreak of the First World War, he returned to Italy. Upon his arrival in May 1915, he enlisted in the Italian army, but he was considered unfit for work and assigned to the hospital at Ferrara. He continued to paint, and in 1918, he transferred to Rome. From 1918 his work was exhibited extensively in Europe.
De Chirico is best known for the paintings he produced between 1909 and 1919, his metaphysical period, which are memorable for the haunted, brooding moods evoked by their images. At the start of this period, his subjects were still cityscapes inspired by the bright daylight of Mediterranean cities, but gradually he turned his attention to studies of cluttered storerooms, sometimes inhabited by mannequin-like hybrid figures.
In autumn, 1919, De Chirico published an article in Valori Plastici entitled „The Return of Craftsmanship”, in which he advocated a return to traditional methods and iconography. This article heralded an abrupt change in his artistic orientation, as he adopted a classicizing manner inspired by such old masters as Raphael and Signorelli, and became an outspoken opponent of modern art.
De Chirico met and married his first wife, the Russian Ballerina Raissa Gurievich in 1924, and together they moved to Paris. In 1928 he held his first exhibition in New York City and shortly afterwards, London. He wrote essays on art and other subjects, and in 1929 published a novel entitled Hebdomeros, the Metaphysician.
In 1930, De Chirico met his second wife, Isabella Pakszwer Far, a Russian, with whom he would remain for the rest of his life. Together they moved to Italy in 1932, finally settling in Rome in 1944 – in 1948 he bought a house near the Spanish Steps which is now a museum dedicated to his work.
In 1939, he adopted a neo-Baroque style influenced by Rubens. De Chirico’s later paintings never received the same critical praise as did those from his metaphysical period. He resented this, as he thought his later work was better and more mature. He nevertheless produced backdated „self-forgeries” both to profit from his earlier success, and as an act of revenge—retribution for the critical preference for his early work.He also denounced many paintings attributed to him in public and private collections as forgeries.
The Seer
This is the Genious Evil of a King
The Archeologists
Hector and Andromache
Archeologo
Il figlio prodigo
The Mistery and The Melacholia of a Street
Piazza d’Italia
The Nostalgia of the Infinite
Piazza
Autofigure
The Child’s Brain
Love Song
Radu Zlati 
The painting you call „The Nostalgia of the Infinite” is not the correct painting, it is in fact the cover of the European and Japanese video game Ico. This is actually a simple mistake, because the game was heavily influenced by Giorgio de Chirico’s paintings. The game, created by Fumito Ueda, is a great work of art in my opinion, and truly captures the same feeling of isolation and empty beauty that Chirico’s paintings do. If you love Chirico’s paintings, I highly recommend you play both Ico and Shadow of the Colossus, both of which are perfect examples of how video games could become just as good a template for fine art as the canvas.
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In fact, dear friend, the game just take the Chirico’s painting as cover. Thanks anyway for the feedback.
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To my knowledge, the only work of Chirico’s given the name „The Nostalgia of the Infinite” is this : http://en.wikipedia.org/wiki/The_Nostalgia_of_the_Infinite
If you look closely, you will see a horned, sword wielding boy wearing a red tunic leading a pale girl in a white gown across an empty expanse. These are the characters of Ico. In fact, the cover was designed by Fumito Ueda himself, who was an artist prior to becoming a game designer (If you wish to confirm this, here is a link: http://www.1up.com/do/feature?pager.offset=2&cId=3143702). Again, this is an easy mistake to make; Ueda was and is heavily influenced by Chirico, and was able to capture his essence in both his games and his artwork.
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for my knowledge, are more than one paintings with the same name, all Chirico masterpieces. But right now, I cant verify and give you the links.
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If you look at that image closely, it’s clearly a modern take on Chirico’s work (look at the characters and the faux canvas). It was painted by Fumito Ueda https://en.wikipedia.org/wiki/Ico
This is the REAL Nostalgia of Time:
http://en.wikipedia.org/wiki/The_Nostalgia_of_the_Infinite
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you are right. I make amend 🙂
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