Question: What notable Italian artist and writer founded the "scuola metafisica" art movement and painted The Nostalgia of the Infinite?

<P0-S0> The Nostalgia of the Infinite is a painting by the Italian metaphysical painter Giorgio de Chirico. <SEP> <P1-S0> The Scuola Grande di San Giovanni Evangelista is a confraternity building located in the San Polo "sestiere" of the Italian city of Venice. <P1-S1>  Founded in the 13th century by a group of flagellants it was later to become one of the five "Scuole Grandi" of Venice. <P1-S2>  These organisations provided a variety of charitable functions in the city as well as becoming patrons of the arts. <P1-S3>  The Scuola Grande di San Giovanni Evangelista is notable for housing a relic of the true cross and for the series of paintings it commissioned from a number of famous Venetian artists depicting "Miracles of the Holy Cross". <P1-S4>  No longer in the school, these came into public ownership during the Napoleonic era and are now housed in the Gallerie dell'Accademia. <P1-S5>  The scuola is open to visitors on a limited number of days, detailed on the official website. <SEP> <P2-S0>  In the years before World War I, he founded the "scuola metafisica" art movement, which profoundly influenced the surrealists. <P2-S1> Giorgio de Chirico (] ; 10 July 1888 – 20 November 1978) was an Italian artist and writer. <P2-S2>  After 1919, he became interested in traditional painting techniques, and worked in a neoclassical or neo-Baroque style, while frequently revisiting the metaphysical themes of his earlier work. <SEP> <P3-S0> Spatialism (Italian: "Spazialismo" ) is an art movement founded by Italian artist Lucio Fontana in Milan in 1947 in which he grandiosely intended to synthesize colour, sound, space, movement, and time into a new type of art. <P3-S1>  The main ideas of the movement were anticipated in his "Manifiesto blanco" (White Manifesto) published in Buenos Aires in 1946. <P3-S2>  In it he spoke of a new "spatial" art in keeping with the spirit of the post-war age. <P3-S3>  It repudiated the illusory or "virtual" space of traditional easel painting and sought to unite art and science to project colour and form into real space by the use of up-to-date techniques such as neon lighting and television. <P3-S4>  Five more manifestos followed; they were more specific in their negative than their positive aspects, and carried the concept of Spatialism little further than the statement that its essence consisted in "plastic emotions and emotions of colour projected upon space". <P3-S5>  In 1947 Fontana created a "Black Spatial Environment", a room painted black, which was considered to have foreshadowed Environment art. <P3-S6>  His stabbed and slashed canvases (beginning in 1949 and 1959 respectively) are also considered to embody Spatialism. <P3-S7>  An example of the slashed type (the slash made with a razor blade) is "Spatial Concept Waiting" (1960, Tate, London). <P3-S8>  Although Fontana's ideas were vague, his outlook was influential, for he was one of the first, certainly the first European artist to truly promote the idea of art as gesture or performance, rather than as the creation of an enduring physical work.