Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
NO Nº 202 Nº 211 YES 22/1917 Nº 217 YES YES
Date 1917 -1918 ? (the museum dates in 1918)
Title Léopold Survage
Materials Oil on canvas or cardboard? (the museum, Patani, Parisot, Ceroni on canvas - Restellini: oil on cardboard)
Size 61.5 x 46 cm (Parisot: 61.3 x 46 )
Signature: Signed "modigliani" top right
Actual Location Ateneum Finish National Gallery, Helsinki, Finland (Inv. Nº A IV 2971)
Provenance -?-

Amedeo Modigliani
Léopold Survage, Paris (?)
Léopold Zborowski, Paris
Roger Dutilleul Collection, Paris
Mme. Eyraud Collection, Paris
Galerie Beyeler, Basilea

Ateneum Finish National Gallery, Helsinki, Finland (Inv. Nº A IV 2971)
Acquired in 1955 (acquired at Beyeler ?)

In process

Bibliography -?-

Modigliani J. , Modigliani: Man and Myth, Orion Press, New York, 1958, pl. 11
Modigliani J. , Modigliani senza leggenda, Vallecchi Editore, Firenze, 1958
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958, pp. 22-26
Modigliani J. , Modigliani sans légende, Gruend, Paris, 1961, pl. 10
Ceroni, Amedeo Modigliani : dessins et sculptures ; avec suite du catalogue illustre des peintures, Edizioni del Milione, Milano, 1965 - nº 201
Gindertael, Shop libre diffusion, 1967, pl. 25
Crespelle. Modigliani, les femmes, les amis, l’oeuvre, Presses de la Cité, Paris, 1969
Diehl, Modigliani, Ed. Flamarion, Paris, 1969, p. 47
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 202
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 211
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 211
Fifield. Modigliani. New York, 1976, p. 258
Gindertael, Shop libre diffusion, 1976, pl. 25
Warnod, La ruche et Montparnasse, 1978, p. 81
Mann, Modigliani, Thames and Hudson, London, 1980, p. 177
Maiolino, Modigliani vivo, Fagola, Torino, 1981, p. 61
Musée de Art Moderne de la Ville de Paris, Modigliani exib. cat., 1981 - nº 56, p. 138 - dated 1917
Modigliani J. Racconta Modigliani, Ed. Graphis. 1984, p. 230
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 173
Parisot, Modigliani, Graphis Arte, 1988, p. 179
Buisson, La scuola di Parigi e Modigliani, Graphis Arte, 1989, p. 121
Parisot, Modigliani, il segno, Electa, Florence, 1990 , p. 179
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 22/1917 - dated 1917
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 217 - dated in 1917
Monti a cura de R. Chiappini, Catalogue Amedeo Modigliani, Lugano, Skira, 1999 - nº 46, pp. 96, 99, 197; dated in 1918 as oil on canvas
Decrooq, a cura de R. Chiappini, Catalogue Amedeo Modigliani, Lugano, Skira, 1999 - nº 46, pp. 96, 99, 197; dated in 1918 as oil on canvas
Wayne, Modigliani & the Artists of Montparnasse, Abrams-Albright-knox gallery, New York, 2002, p. 36 - as oil on canvas, dated in 1918
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, p. 30
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Restellini, Le silence éternel, Pinacotheque de Paris, 2008, pp. 140-141 - dated 1917 as oil on cardboard (Huile sur carton)
Ireson, Fraquelli, Modigliani, London, Tate Modern, Skira Rizzoli, London, 2017, p. 93 - dated 1918 (as oil on canvas)

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 in Le silence éternel, Pinacotheque de Paris, 2008, pp. 140-141 of this painting even if its made in cardboard and dated by him in 1917 or 1918, 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

Exhibitions -?-

London, French Art 1914-19, Mansard Gallery, London, 1919 - nº 44
Basel, Maitres de l´art moderne, Galerie Beyeler, 1955 (?)
Marseille, Modigliani, Musée Cantini, 1958 - nº 22
Paris, Cent Tableaux de Modigliani, Galerie Charpentier, 1958 - nº 64
Roma, Modigliani, Galleria Nazionale d'Arte Moderna, 1959 - nº 41
Frankfurt, Amedeo Modigliani, Steinernes Haus, 1963 - nº 26
Paris, Paris-Moscou 1900-1930, Centre national d'art et de culture Georges Pompidou, 1979
Liege, Modigliani exhibition. Musée Saint Georges, 1980 - nº 19
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981 - nº 56 (dated 1917)
Barcelona, Modigliani, Centro Cultural de la Caixa de pensiones,Curated by Christian Parisot, 1983 - nº 28
Madrid, Modigliani, Sala de exposiciones la caja de pensiones, Curated by Christian Parisot, 1983 - nº 28
Tokyo, Modigliani exhibition, National Museum, 1985 - nº 85
Nagoya, Modigliani exhibition, Aichi Prefectural Art Gallery, 1985
Martigny, Modigliani, Fondation Pierre Gianadda, 1990 - nº 76
Tokyo, Exposition Amedeo Modigliani au Japon, Tobu Museum of Art, 1992-93
Kyoto, Exposition Amedeo Modigliani au Japon, Daimaru Museum, 1992-93
Osaka, Exposition Amedeo Modigliani au Japon, Daimaru Museum of Umeda, 1992-93
Ibaraki, Exposition Amedeo Modigliani au Japon, Museum of Modern Art, 1992-93
Lausanne, Modigliani, Utrillo, Soutine, Les peintres de Zborowski et leurs amis, Fondation de L'Hérmitage, 1994, p. 163 - nº 5
Firenze, Modigliani Soutine Utrillo e i pittori di Zborowski, Palazzo Vecchio, Sala d´Arme, 1995 - nº 5
Lugano, Amedeo Modigliani, Museo d'Arte Moderna, 1999 - nº 46 - dated 1918
Helsinki, A Selection from the International Collection,Ateneum Art Museum, 2000-2001
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
London, Modigliani, Tate Modern, 2017-2018
Moscow, "Les Soirees de Paris of Baroness Oettingen". Rousseau, Modigliani, Apollinaire, Survage, Férat", Pushkin State Museum, 2019

In process

Not in D'Atri papers


The signature of the painting is absolutely anomalous, it is made in black oil and the "m" is joint to the "o", the "o" is closed, the "d" is closed, the "g" haves no body balance,
the dots are big, 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:


This painting presents holes in the 4 corners


Detail of the nose/ mustache where the drawing with colors and black detail is visible and is painted over the color (on top of the color)


Detail of the ear where the drawing with colors and black detail is 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 ear is full in details, as detailed as the eyes or the hair or clothes.
The ear in this painting is a total point of light, with no ear the painting loses a lot of the character, the point of light given by the ear and the
character it prints is of vital importance to the composition.

Example with no ear:

with no ears


The painting framed in 2017:

framed in chicago

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