From his stay in Munich, Giorgio de Chirico chose Arnold Böcklin and Max Klinger as his masters. Their works, inspired by ancient Greek myths, combine the supernatural with the everyday. They reminded him of the world of his childhood in Vólos, in Thessaly, the starting point for the voyage of the Argonauts, and home of the sagas of Centaurs, imbued with a pantheistic ancestral dimension, one of a natural world inhabited by nymphs and giants.
Thus, de Chirico’s painting takes on an autobiographical aspect, and it was quite natural for him and his brother, Alberto Savinio, to identify with the figures of the Argonauts or the wandering Ulysses, a living metaphor of knowledge. During the summer of 1909, while staying in Rome and Florence, he had his first "revelations" - visions of paintings that he quickly noted down on sheets of paper. He sketched compositions of ancient buildings, contrasts of light and shade and the occasional symbolic figures that could suggest vague emotions and sensations such as solitude, nostalgia and desire. The first metaphysical works date from this period around 1910.