RENÉE KISLING BY AMEDEO MODIGLIANI
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
NO Nº 150 Nº 163 YES YES? Nº 170 ? ?
Date 1917
Title Renée - Mme. Kisling - Bust of Renée
Materials Oil on cardboard ? ( the museum say canvas but a simple high resolution image show the borders of the textured cardboard)
Size 61.1 x 50.2 cm ?
Signature: Signed "modigliani" top left and the text "RENEE" top right
Actual Location Pola Museum of Art, Hakone, Japan
Provenance -?-
?
Sabouraud Collection, Paris (1933)
?
Private Collection, Tokyo
?
Pola Museum of Art, Hakone, Japan
No data of provenance to the Museum


In process

Bibliography -?-
Ponente, Modigliani, Ed. Toray, Barcelona, 1969, pl. 22
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 163 (dated in 1917)
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 170
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 170 ( dated in 1917)
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007

In process

Exhibitions -?-

Brussels, Modigliani: Retrospective Exhibition. Palais des beaux-arts, 1933 - nº 40
Basel, Amedeo Modigliani, Kunsthalle, 1934 - ?
Tokyo, Art Gallery Tokyu, Modigliani, Utrillo, Kisling, 1980 - nº 15
Tokyo, Modigliani exhibition, National Museum, 1985 - nº 77
Nagoya, Modigliani exhibition, Aichi Prefectural Art Gallery, 1985
Hakone, Finding Modigliani, Pola Museum of Art, 2014
Helsinki, Modigliani, Ateneum , 2016-2017

In process

Other Nº 40 in D' Atri papers dated 1917 and in Sabourand collection, size wrong 61 x 38

-------------------------------------------------------------------------------------------------------------------------------------------------------------------
The painting framed at theHelsinki, Modigliani, Ateneum , 2016-2017:

renee portrait framed at helsinki exhibition in 2016-2017


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

This work presents holes in the 4 corners.

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

This painting has been traditionally named as oil on canvas but as can be seen in this HR image of the painting unframed is the classical textured cardboard,
(the type of cardboard is made textured to imitate the normal canvas style so many times at a simple view it can be mistaken for canvas and is also very common to
have paintings framed covering the back with wood to protect the painting fromany harm from the back, so it goes unnoticed until you touch it).

The borders show t the normal chipping of the paper also one of the pin holes is clearly visible with the round area of the head of the pin.

carboard border

-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Curiosity:
This work should be rejected by Marc Restellini as an original by Modigliani (of course this is not my opinion, it´s just a "presume" I think it's a stupid idea)
Marc Restellini say there is no cardboard in Modigliani's oeuvre after 1915 and that everything done later in cardboard is fake, a total nonsense.

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

restellini-nonsense
Translation:
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.


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


The signature of the painting is absolutely anomalous, it is made in black oil and the "m" is too far, the "o" closed on top and not balaced, the "d" is crisp and is very long
compared to his other "d" and the "g" makes an excesive triangle. The linearity of the signature is broken with an ascending design, but of course this does not means
nothing, only old fashion art historians/connosieurs would dare to say it's fake based on that 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:
LEON BAKST SIGNATURE DETAIL

In color highlighted:


More contrast:


Only black:



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