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| Giorgio Morandi Still Life 1918 oil on canvas Pinacoteca di Brera, Milan |
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| Giorgio Morandi Metaphysical Still Life with Triangle 1919 oil on canvas Pinacoteca di Brera, Milan |
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| Giorgio Morandi Still Life 1919 oil on canvas Pinacoteca di Brera, Milan |
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| Giorgio Morandi Self Portrait 1924 oil on canvas Pinacoteca di Brera, Milan |
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| Giorgio Morandi Landscape (The Pink House) 1925 oil on canvas Pinacoteca di Brera, Milan |
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| Giorgio Morandi Large Still Life 1928 etching Art Institute of Chicago |
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| Giorgio Morandi Still Life 1929 oil on canvas Pinacoteca di Brera, Milan |
"Morandi's still lifes are not that still: they are not Platonic placements of rigid geometrical bodies. The components interact and jostle, exerting pressure on one another rather than sitting quietly at rest. . . . The artist Robert Irwin speaks of Morandi as dealing with the "time and space relationships within the painting per se." . . . It is striking that the shadows in his paintings go this way and that, as if there were different sources of light, or as though the bottles were sundials casting shadows made at the different times of day they were painted."
– Arthur C. Danto, from an exhibition review in The Nation (2008)
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| Giorgio Morandi Still Life 1930 etching Art Institute of Chicago |
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| Giorgio Morandi Still Life 1933 etching Art Institute of Chicago |
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| Giorgio Morandi Landscape 1941 oil on canvas Pinacoteca di Brera, Milan |
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| Giorgio Morandi Still Life 1943 drawing Art Institute of Chicago |
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| Giorgio Morandi Still Life 1948 drawing Art Institute of Chicago |
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| Giorgio Morandi Still Life with Nine Objects 1954 etching Art Institute of Chicago |
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| Giorgio Morandi Still Life 1956 drawing Art Institute of Chicago |
"Ironically, the very positions that had reinforced the image of Morandi as an anti-Fascist – his rejection of the classicizing Fascist iconography that focused mainly on the human figure, and his insistence that art should have no role in politics – also put him at odds with postwar Marxist critics. During Fascism, the Communist Party had been outlawed, but now it seemed that Marxists and Fascists shared the same views about the purpose of art. As a result Morandi was attacked by Italy's post-war Marxists on virtually the same grounds for which he had been reviled in earlier years by factions within the Fascist Party."
– Janet Abramowicz, Giorgio Morandi: The Art of Silence (Yale University Press, 2004)