Cendrars by amedeo modigliani
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 180 Nº 371 Nº 173 YES 25/1917 YES YES ?
Date 1917
Title Blaise Cendrars
Materials Oil on cardboard ( Pfannstiel / Parisot: Oil on canvas)
Size 60.9 x 50.8 cm (Parisot: 61 x 50 - Pfannstiel 62 x 51 - 1963 exhibit 61 x 50)
Signature: Unsigned - the text "CENDRARS" top right (reverse not seen)
Actual Location Gualino Collection, Rome?
Provenance -?-

Silvermann Galleries, New York
Private Collection, Connecticut
Gualino Collection, Rome
Marc Restellini say there is no cardboard in Modigliani's oeuvre after 1915 and that everything done later in cardboard is fake but again he
informs that he will include this work in his CR even if its made in cardboard and dated by him in 1917?, a nonsense.

This extract from a report by him will give deeper comprehension of the private expert way of working:
4 / Study of support and technique
a) The cardboard as a support for the works of Amedeo Modigliani
Modigliani used cardboard as a medium for thirty works. In 1915, he made 14 works of this type, and this is the last year in which he uses this medium.
From 1916, Modigliani never uses this medium because it is supported by the merchants Paul Guillaume (whose personal collection was given to the French
State and is exposed at the Musée de l'Orangerie in Paris) and Leopold Zborowski. It is thus supplied in canvases by these merchants and therefore no longer
needs to use poor media such as cardboard.

This support does not exist at Modigliani after 1915.

In process

Bibliography -?-

Parrot, Blaise Cendrars, Paris, 1953, pl. 5
T. Soby, Modigliani, Museum of Modern art, New York, catalogue exp. 1951 (not illustrated only in catalogue reference - lent anonymously)
Lipchitz, Amedeo Modigliani, H.N. Abrams, New York, 1954, pl. 27 (Private Collection, Connecticut)
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 180 (dated 1917)
Russoli, Amedeo Modigliani, Exhib. catalogue Palazzo Reale, Edizioni dell'ente manifestazioni Milanesi, Milano, 1958, pl. 35
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 92
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Zurich, 1958, pl. 31
Werner, Amedeo Modigliani, Cercle d'art, Paris,1968, pp. 94-95 ( oil on cardboard, dated 1917 - Riccardo Gualino Collection, Rome)
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 371 (dated 1919)
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 164
Castieau-Barrielle, Modigliani, ACR Editions, Paris, 1987, pp. 188-89 (dated in 1918 - Gualino Collection, Rome)
Parisot, Modigliani, Graphis Arte, 1988, p. 174
Buisson, La scuola di Parigi e Modigliani, Graphis Arte , 1989, p. 118
Orion Press, Tokyo, 1989 - nº 23
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991- nº 25/1917 (dated 1917)
Patani, Catalogo Generale, Leonardo, Milano, 1991-94
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007

In process

Exhibitions -?-

New York, ?, The Museum of Modern Art, 1949- ?
Cleveland, Modigliani: Paintings, Drawings, Sculpture, Cleveland Museum of Art,1951
New York, Modigliani: Paintings, Drawings, Sculpture, The Museum of Modern Art, 1951
Miami, 1954
Palm Beach, 1954
Milano, Mostra di Amedeo Modigliani, Palazzo Reale, Curated by Franco Russoli, 1958 - nº 35 (as oil on canvas)
Roma, Modigliani, Galleria Nazionale d'Arte Moderna, 1959 - nº 25
Edinburgh, Modigliani, Royal Scottish Academy, 1963 - nº 31
London, Modigliani, Tate Gallery, 1963 - nº 31

In process

Other Not in D' Atri papers


This painting presents holes in the 4 corners of the cardboard, all of them visible:
holes in Cendrars


The known images of this work reflect a progressive change of color probably because of strong and hard cleaning that eliminated the orange layers that covered
the face making it more visually acceptable:
changes of Cendrars, unknow dates of images

Detail of the ears where the drawing is clearly visible and is painted over the color (on top of the color)


Marc Restellini extract from a report by him will give a deeper comprehension of the private expert way of working:


The ears: When they are left exposed in female portraits (rare), they are not detailed. Even in the portraits of men, they are not the object of so much detail.

Exactly the opposite to this case, the ears are full in details, as detailed as the eyes or the hair...


Biography of Cendrars: LINK
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