LEOPOLD ZBOROWSKI WHITE SHIRT BY AMEDEO MODIGLIANI
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 287 Nº 295 Nº 227 YES 12/1918 Nº 238 YES ?
Date 1918 ?
Title Léopold Zborowski - Zborowski white shirt
Materials Oil on canvas
Size 46 x 27 cm ?
Signature: Signed "modigliani" top right
Actual Location Private Collection ?
Provenance -?-
?
Léopold Zborowski, Paris
Bing Galerie, Paris
Netter Coll., Paris (until 1933)
Khoury Coll., Paris (1933, 1956, ?)
?
Private Collection?


In process

Bibliography -?-

Salmon, Modigliani, sa vie et son oeuvre, Ed. des Quatres Chemins, Paris, 1926, pl. 17
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1927, pl. 12
Scheiwiller, Editions des Chroniques du jour, Paris, 1928 , pl. 10
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 47
Georges-Michel, Les Montparnos, Paris, 1929, p. 20
Neugass , Deutsche Kunst und Dekoration, Amedeo Modigliani, Print. Bruno Cassirer, Berlin, January 1930, p. 229
Taguchi, Modigliani, Alier-Sha Tokyo, 1936, pl. 16
Franchi, Modigliani, Arnaud, Firenze, 1944, pl. 2
Franchi, Modigliani, Arnaud, Firenze, 1947, pl. 39
Cocteau, Modigliani, Hazan, Paris, 1950, pl. 2
Dictionnaire de la peinture Moderne, Paris, 1954, p. 190
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 287 (size 46 x 28
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 86
Modigliani J. , Modigliani sans légende, Gruend, Paris, 1961, p. 15
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 227
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 295
Deleveze, 1971, p. 31
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972, nº 227
Mann, Modigliani, Thames and Hudson, London, 1980, p. 161 - nº 118
Musée de Art Moderne de la Ville de Paris, Modigliani exib. cat., 1981, p. 144 - nº 64
Hall, Modigliani, Phaidon, Oxford, 1984 - nº 35
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 15
Verona, Modigliani a Montparnasse, Palazzo Forti, 1988 , p. 82
Restellini, Carrefour Vavin, Paris 1989, p. 50
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 12/1918
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 238
Da Rosa, Modigliani, Giunti G. E, Firenze, 1996, p. 22
Krystof, Amedeo Modigliani: The Poetry of Seeing, Taschen, Cologne,1996, 2000, p. 45
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, pp. 334-335 - nº 78
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. 130, pl. 45
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Marini, Modigliani , Skira, France, 2008 - nº 45

In process

Exhibitions -?-
?
Paris, Modigliani, Galerie Bing et Cie, 1925
Brussels, Modigliani: Retrospective Exhibition. Palais des beaux-arts, 1933 - nº 69
Basel, Amedeo Modigliani, Kunsthalle, 1934 - nº 60
Paris, Musée des Arts Décoratifs, 1952
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981 - nº 64
Martigny, Modigliani, Fondation Pierre Gianadda, 1990 - nº 84
Lausanne, Modigliani, Utrillo, Soutine, Les peintres de Zborowski et leurs amis, Fondation de L'Hérmitage, 1994 - nº 4
Lugano, Amedeo Modigliani, Museo d'Arte Moderna, 1999 (curated by Rudy Chiapini & Marc Restellini)
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 78 (curated by Marc Restellini)
Milano, Modigliani: l'ange au visage grave, Palazzo Reale, 2003 - nº 54 (curated by Marc Restellini)
New York, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005 - nº 45
Toronto, Modigliani: Beyond the Myth, The Art Gallery of Ontario, 2004 - 2005 - nº 45
Washington D.C., Modigliani: Beyond the Myth, The Phillips Collection, 2005 - nº 45
Tokyo, Modigliani et le primitivisme, The National Art Center, 2008 - n° 48 (curated by Marc Restellini)
Osaka, Modigliani et le primitivisme, The National Museum of Art, 2008 - n° 48 (curated by Marc Restellini)
South Korea, Amedeo Modigliani and Jeanne Hébuterne, Aram & Harmony Art Museum of Goyang, 2008 (curated by Marc Restellini)
Paris, La Collection Jonas Netter, Pinacotheque de Paris, 2012 (curated by Marc Restellini)
Milano, La Collection Jonas Netter, Palazzo Reale, 2013 (curated by Marc Restellini)
St. Petersburg, Modigliani, Soutine and other legends of Montparnasse (the Netter Collection) Fabergé Museum, 2017-18 (curated by Marc Restellini)

In process

Other
Nº 69 in D' Atri papers as Zborowski - 46x 28 - dated 1919 - Provenance in Zborowski > Netter > Khoury 1933?

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

This painting presents holes in the 4 corners, all of them covered.

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

The signature of the painting is absolutely anomalous, it is made in black oil and the "m" is not joint to the "o" that is closed, the "d " is closed, the "i" is alone, the "g" makes
a very triangular shape non compensed, the "l" is rare and more near to a "p", "iani" is all together in one unbroken trace, The linearity of the signature is complete in design with
a small curve in the first 4 letters, 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:

signature

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

The eyes and the incarnation of the eyelids is just the prototype of the painting of 1918 or late 1917 in the work of Modigliani, you can see a mixture
of all his style, in the right eyelid at the beginning you see a solid block of very classic color of his works of 15-16 while the dark circles are treated
with color gradient as well as the left eyelid, however you can see the black line, something also of the 17, the nose is unique and special as you can
see the round point and the solid block of mustard color in the lower tip while there is a color gradient in the rest.

eyes

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

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

ears

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

marcrestellini

Translation:
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...


It is interesting to note the combination of color and line and this must be added the inside of the ear reviewed in color line, is curious to be something that according to
Marc Restellini is not important, in this particular case he knows, publishes and exposes he has never noticed the pointy and detailed ears, since as he says "he has
never seen pointy ears in a work by Modigliani"

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

Detail of the zig zag brushstrokes next to the figure in the background mixing white, green, white and black to create a sensation of movement in a neutral zone.

detail of the brushwork


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

Detail of the loose hair that Modigliani liked so much:
hair details

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

The painting framed at St. Petersburg, Modigliani, Soutine and other legends of Montparnasse (the Netter Collection), Curated by Marc Restellini, Fabergé Museum, 2017-18

The painting framed at St. Petersburg, Modigliani, Soutine and other legends of Montparnasse (the Netter Collection), Curated by Marc Restellini, Fabergé Museum, 2017-18



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