NUDE BY AMEDEO MODIGLIANI
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 139 Nº 142 Nº 188 YES 32/1917 Nº 192 YES YES
Date 1917
Title Seated nude - Nude - Draped Nude
Materials Oil on canvas
Size 114.5 x 71.5 cm (Museum: 115 x 72 - Parisot, Patani: 114 x 74 - Pfannstiel: 100 x 65)
Signature: Signed "modigliani" top right in white mixed with sienna (or with a varnish layer over the signature)
Actual Location Koninklijk Museum voor Schone Kunsten Antwerp, Belgium (Inv. nº 2060)
Provenance -?-

Léopold Zborowski, Paris
Gallerie Berthe Weill, Paris (?)
Acquired by the Belgium Government 1927

Koninklijk Museum voor Schone Kunsten Antwerp, Belgium (Inv. nº 2060)

In Process

Bibliography -?-


Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 22
Carrieri, 12 opere di Amedeo Modigliani, Ed. del Milione, Milano 1950, pl. 101
Carli, Amedeo Modigliani, De Luca, Roma 1952, pl. 18
Haftmann, Malerei im XXen Jahrhundert, Munich, 1955, p. 401
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 139 (dated 1917- size 100 x 65 cm)
Cartier, Modigliani Nus, Hazan, Paris, 1958, pl. 13
Russoli, Amedeo Modigliani, Exhib. catalogue Palazzo Reale, Edizioni dell'ente manifestazioni Milanesi, Milano, 1958, pl. 33
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 95
Pavolini, Modigliani, Union Générale d'Éditions en accord avec l'Unesco, Milano 1966, pl. 9
Gindertael, Modigliani e Montparnasse, Milan, 1969, pl. IX, pl. 20
Ponente, Modigliani, Ed. Toray, Barcelona, 1969 - nº 48
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 142 (dated 1916)
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 188 (dated 1917 - 114 x 74 cm)
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 188
Hubbard, Modigliani and the painters of Montparnasse, Lamplight Publ. New York, 1975, p. 30, pl. 20 (dated 1917 - size 116 x 73)
Zurcher, Modigliani, Ed. F. Hazan, Paris, 1980 - nº 38
Mann, Modigliani, Thames and Hudson, London, 1980, p. 147
Roy, Modigliani, Nathan, Paris, 1985, p. 76
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 183 (dated 1916-1917)
Angela Ceroni, Les nus, Biblioteque des Arts, Paris, 1989, p. 65
Orion Press, Tokyo, 1989 - nº 33
Hulten/Celant, Arte Italiana Presenze 1900-1945, Bompiani, Milano, 1989, p. 355
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990, p. 108 - nº 57
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 32/1917 (size 114 x 74 - with incorrect image)
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 192 ( size 114 x 74)
Krystof, Amedeo Modigliani: The Poetry of Seeing, Taschen, Cologne,1996, 2000, p. 63 (dated 1917 - size 73 x 116)
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. 60 fig. 7 (dated 1917 - size 116 x 73)
Fraquelli, Modigliani and His Models. Exh. cat., Royal Academy of Arts. London, 2006, pp. 94-95 - nº 17 - dated 1917
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Ireson, Fraquelli, Modigliani, London, Tate Modern, Skira Rizzoli, London, 2017, p. 134

In process

Exhibitions -?-

Paris, Modigliani , Berthe Weill Gallery, 1917 (?)
Venezia, Mostra retrospettiva di Modigliani – Curated by Lionello Venturi - Biennale di Venezia , Sala XII degli Appels d'Italie, 1930 - nº 23
Brussels, Modigliani: Retrospective Exhibition. Palais des beaux-arts, 1933 - nº 20
Basel, Amedeo Modigliani, Kunsthalle, 1934 -nº 12
Roma, Modigliani, VI Quadriennale, 1952 -nº 18
Milano, Mostra di Amedeo Modigliani, Palazzo Reale, Curated by Franco Russoli, 1958 - nº 33
Roma, Modigliani, Galleria Nazionale d'Arte Moderna, 1959 - nº 26
Frankfurt, Steinernes Haus, 1963 - nº 18
Edinburgh, Modigliani, Royal Scottish Academy, 1963 - nº 35
London, Modigliani, Tate Gallery, 1963 - nº 35
Venezia, Arte Italiana Presenze 1900-1945, Palazzo Grassi, 1989
Martigny, Modigliani, Fondation Pierre Gianadda, 1990 - nº 71 (size in catalogue 114 x 74 )
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 54
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº 54
London, Modigliani and his models, Royal Academy of Arts, 2006 - nº 17 (titled "Draped Nude" - dated 1917 - size 114 x 74)
Villeneuve d'Ascq, L'oeil intérieur, LaM. Lille Métropole musée d'art moderne, 2016
Budapest, Modigliani, Hungarian National Gallery, 2016
Helsinki, Modigliani, Ateneum Art Museum, 2016-2017
London, Modigliani, Tate Modern, 2017-2018
Genova, Modigliani, Palazzo Duccale, 2017

In process

Other -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Nº 20 in D' Atri papers dated 1917, size corrected 100 x 65, titled "Nu accroupi" - Provenance in Zborowski, 1929> ?

-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

The signature of the painting is absolutely anomalous, it is made in white oil, the "m"is joint to the "o" closed, the "d" is almost closed, the "g" with a very unbalanced body,
the "l" is almost lost, the "i" dots are similar in other paintings. The linearity of the signature is complete in design, but of course this does not means nothing, only old
fashion art historians/connoisseurs would dare to say it's fake based on this stupid and pointless dissertation, a total nonsense.

Signatures in Modigliani have no rules and to say that there are is like saying he signed with a stamp...

Detail of signature in visible normal light:
signature under visible light

-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

This painting presents holes in 4 corners.

------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

The painting framed in London, Modigliani, Tate Gallery, 2017:
The painting framed inLondon, Modigliani, Tate Gallery, 2017

The painting at the Venice Biennale in 1930:
The painting at the Venice Biennale in 1930

-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

The eyes of this painting reflect a style Modigliani used from the end of 1915 to the first months of 1918, very similar eye construction can be
seen in many Modigliani works from this period:

eyes



-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

The same sitter can be recognized in other paintings by Modigliani, with an undoubted match:

similar or the same model
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
This painting was part of the Modigliani technical research study in 2018 (mention the size of the painting - 60 x 92 cm ???)

Extract from:
The Modigliani technical research study "Modigliani's painted Nudes 1916- 17
Burnstock, Duvernois, Stringari
Burlington Magazine - April 2018

Modigliani employed a consistent and limited range of pigments for painting the nudes, including lead white with a low proportion of zinc, vermilion red, an organic red lake pigment,
iron oxide-containing pigments including sienna, ocher and umber-colored ones, Prussian blue, French ultramarine, calcium phosphate (bone) black and viridian green. There are
consistencies in the combinations of pigments for flesh; these include a mixture of white with vermilion and a separate application of a transparent red lake.

------------------------------------

In resume the main identified colors/pigments in Modigliani's nudes (and this means all the 1916-17 nudes) are:

1.- Lead White with a low proportion of zinc.
2.- Vermilion red
3.- Organic red lake
4.- Sienna
5.- Ocher
6.- Umber-colored ones
7.- Prussian blue
8.- French ultramarine
9.- Bone black
10.- Viridian green

This does not means that a painting has to present the 10 pigments, this are the pigments found in all the analyzed nudes:
Example:

- "Nude 1" have Prussian blue but not the French Ultramarine (both are blues)
- "Nude 2" have French Ultramarine but no Prussian Blue
- "Nude 3" have Sienna
- "Nude 4" have Ocher
and so on.

colors1
There is no need that the same painting have all the 10 detected, you can achieve the same effect using just one blue instead of the two detected.

Mix, Vermilion red + Sienna and you have the perfect orange skin in Modigliani from 1914 to 1917-18
Mix Vermilion + Sienna + White and you have the perfect pink skin in Modigliani from 1917-8 to 1919

General Museum technical studies have reached the conclusion that is a very short palette, a simple range made with pre industrial oils (non artisan, but small scale industrial oils).

------------------------------------------------------------

This is exactly the opposite to the opinion presented by Marc Restellini "as private expert" who in a private dossier presented the next conclusions:

Extract of one of his private dossier:

pigments on the opinion of Restellini
------------------------------------------------------
Translation:

What we can simply point out at the moment is that Modigliani's palette of authentic works rarely consists of less than 10 to 12 pigments, as shown in the following list of works that we have
had the opportunity of analyze over the last 20 years as part of the Wildenstein Institute and Restellini Institute.

The works he present are the next:
pigments presented by restellini
------------------------------------------------------------

He says the number of pigments, but do not identify them with names, he is the only person enough of trust as to have that information and he wants to keep it
that way to avoid dirty criminals to use it to create forgeries, he is the only expert who shall ever have this information.

This is important because the upper statement was presented to the Police requesting the immediate destruction of a work and the arrest of the owners and experts
who expertized it and using the same words that Marc Restellini sent in a letter to the Swiss prosecutor "give example to criminals".

(yes I am one of the people he asked to... )

This report was presented to the police by the PRESIDENT OF THE RESTELLINI INSTITUTE in Paris who is also the PRESIDENT OF THE RESTELLINI INSTITUTE INVESTIGATION
in Geneva, and who curiously, what a nice coincidence was also the purported buyer for the work.

If his statement about the pigments is true, all the analyzed nudes of Modigliani and almost all the paintings analyzed in the Burlington research (done by the most reputed experts of the most
reputed museums all over the world) would become a "RARELY" exception or crude forgeries.

I would love to know the innovative and state of the art techniques he has developed in his own private laboratory at the Geneva Freeport to be able to detect what the main museums &
the most advanced labs across the world has not been able to find.

What an envy to have your own laboratory to assure your work.

------------------------------------------------------------

Can you imagine that to make this painting Modigliani needed 17 pigments, amazing what a waste of expensive oils to achieve such a limited color result:


colros dilewski


------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

  This page is a work on progress, nothing in this page should be considered as final or definitive.