NUDE BY AMEDEO MODIGLIANI
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 309 Nº 162 Nº 191 YES YES? Nº 196 YES ?
Date 1917
Title Seated nude - Nude - Nu assis tenant une chemise contre la poitrine - Nude sitting holding a shirt against the chest - Nu assis à la chemise - Nude sitting with shirt
Materials Oil on canvas
Size 92 x 67.5 cm
Signature: Signed "modigliani" top right
Actual Location Lille Métropole musée d'art moderne, d'art contemporain et d'art brut, Villeneuve d'Ascq, France (Inv. nº 979.4.105)
Provenance -?-

Léopold Zborowski, Paris
Dutilleul Collection, Paris
Masurel Collection, Paris

Lille Métropole musée d'art moderne, d'art contemporain et d'art brut, Villeneuve d'Ascq, France (Inv. nº 979.4.105)
Donation de Geneviève et Jean Masurel en 1979

In Process

Bibliography -?-

San Lazzaro, Modigliani peintures, Les Éditions du Chêne, Paris, 1947, pl. 10
San Lazzaro, Modigliani peintures, Les Éditions du Chêne, Paris, 1953, pl. 10
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 309 (dated 1918- size 92 x 73 cm)
Salmon, La vie passionnée de Modigliani, Vervier, Paris, 1957
Salmon, Modigliani a memoir, Putnam's sons, New York, 1957
Cartier, Modigliani Nus, Hazan, Paris, 1958, pl. 4
Modigliani J. , Modigliani sans légende, Gruend, Paris, 1961, pl. 37
Salmon, Modigliani: A Memoir, New York, 1961, p. 160-161
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 162
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 191
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 191
Diehl, Modigliani, Ed. Flamarion, Paris, 1977, p. 57
Musée de Art Moderne de la Ville de Paris, Modigliani exib. cat., 1981 - nº 52, p. 135
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990, p. 115 - nº 64
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 196
Durieu, Modigliani, Paris, Hazan, 1995 - nº 30, pp. 102-103
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002 - nº 62, pp. 298-299
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Marini, Modigliani , Skira, France, 2008 - nº 37


In process

Exhibitions -?-

Paris, Modigliani , Berthe Weill Gallery, 1917 (?)
Paris, Exposition rétrospective des oeuvres de Modigliani, Galerie Montaigne, 1920 - nº 3
Paris, Modigliani Peintures, Galerie de France, 1945-46 - nº 15 (dated 1918)
Paris, Cent Tableaux de Modigliani, Galerie Charpentier, 1958 - nº 81
Marseille, Modigliani, Musée Cantini, 1958 - nº 27
Bordeaux, La femme et l'artiste, de Bellini à Picasso, 1964 - nº 172
Bondues, Collections privées du Nord. Ecole de Paris, Château de la Vigne, 1967 - nº 49
Lille, Peintures de Braque, Léger, Modigliani, Picasso, Soutine, Palais des Beaux-Arts, 1967 - nº 7
Tokyo, Modigliani, Grand Magazin Seibu, 1968 - nº 52
Kyoto,Modigliani, National Museum of Art , 1968 - nº 52
Liege, Modigliani exhibition. Musée Saint Georges, 1980 - nº 30
Paris, La donation Geneviève et Jean Masurel à la Communauté Urbaine de lille, Musée du Luxembourg, 1980 - nº 93
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981 - nº 52
Tokyo, Modigliani exhibition, National Museum, 1985 - nº 84
Nagoya, Modigliani exhibition, Aichi Prefectural Art Gallery, 1985 - nº 84
Venezia, Arte Italiana Presenze 1900-1945, Palazzo Grassi, 1989, p. 361
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 55
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº 55
Le Chateau-Cambrésis, Baigneuses et figures, Musée Matisse, 1998
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 62
Milano, Modigliani: l'ange au visage grave, Palazzo Reale, 2003 - nº 43
Lille, Modigliani, Picasso et leur temps, Collections du musée d'art moderne Lille Métropole 1900-1950, LAM 2006
Matsuyama, Modigliani, Picasso et leur temps, Collections du musée d'art moderne Lille Métropole 1900-1950, Ehime Prefectural Museum of Art, 2006
Hiroshima, Modigliani, Picasso et leur temps, Collections du musée d'art moderne Lille Métropole 1900-1950, Hiroshima Museum of Art, 2006
Akita, Modigliani, Picasso et leur temps, Collections du musée d'art moderne Lille Métropole 1900-1950, Masakichi Hirano Museum of Fine Art, 2006
Tokyo, Modigliani, Picasso et leur temps, Collections du musée d'art moderne Lille Métropole 1900-1950, Bunkamura Museum of Art, 2006
Kitakyushu, Modigliani, Picasso et leur temps, Collections du musée d'art moderne Lille Métropole 1900-1950, Kitakyushu Municipal Museum of Art, 2007
Osaka, Modigliani, Picasso et leur temps, Collections du musée d'art moderne Lille Métropole 1900-1950, Daimaru Museum Umeda, 2007
Koriyama, Modigliani, Picasso et leur temps, Collections du musée d'art moderne Lille Métropole 1900-1950, Koriyama City Museum of Art, 2007
Hornu, Des fantomes et des anges, Musée des Arts Contemporains - Grand-Hornu, 2008
Nagoya, Modigliani, a retrospective, Nagoya City Art Museum, 2008
Himeji, Modigliani, a retrospective, Himeji City Museum of Art, 2008
Iwate, Modigliani, a retrospective, Morioka Iwate Museum of Art, 2008
Nagoya, Modigliani, a retrospective,, The Chunichi Shimbun, 2008
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
Genova, Modigliani, Palazzo Duccale, 2017


In process

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Not in D' Atri papers ?

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The signature of the painting is absolutely anomalous, it is made in black oil, the "m"is more like an "n" and joint to the "o" half 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


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The painting framed in Villeneuve d'Ascq, L'oeil intérieur, LaM. Lille Métropole musée d'art moderne, 2016:
The painting framed inLondon, Modigliani, Tate Gallery, 2017


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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



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

similar or the same model
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This painting is part of the Modigliani technical research study in 2019 (actually in process)

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