Pierre-Edouard Baranowski by Amedeo Modigliani
Image Courtesy of the Fine Arts Museums of San Francisco
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 215 NO NO ? ? NO YES YES
Date 1918
Title Pierre-Edouard Baranowski - Monsieur Baranowski
Materials Oil on cardboard (the museum say Hardboard, a mixture of paper pulp and wood pulp with cloth pulp)
Size 62 x 45.5 cm
Signature: Signed "modigliani" top right
Actual Location De Young Fine Arts Museums of San Francisco, San Francisco California, USA (Inv. Nº 1981.2.37)
Provenance -?-
?
Amedeo Modigliani /Leopold Zborowski?
Jeanne Renouard (acquired from above)
Galerie Zak, Paris (acquired from above)
Baron Adolphe Kohner Collection, Budapest (acquired from above, until 1934?)
Sale: K. Pogány, Collection Baron Adolphe Kohner - Ernst-Mûzeum. Lot 57 - 1934
?
Justin K. Thannhauser Collection, New York (by 1953)
Edgar Sinton Collection , Hillsborough, California

De Young Fine Arts Museums of San Francisco, San Francisco California, USA (Inv. Nº 1981.2.37)
Gift of Marian Walter Sinton in 1981

In process

Bibliography -?-
?

Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 35
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 215 title Baranowski - dated 1917 size 64 x 49
Note:
Pfannstiel mention the next provenance: Zborowski > Zak


In process

Exhibitions -?-
?

San Francisco, 20th Anniversay exhibition, San Francisco Museum of Art, 1955
San Francisco, Zacks exhibition, San Francisco Museum of Art, 1957
San Francisco, 25th Anniversay exhibition, San Francisco Museum of Art, 1960
San Francisco, The San Francisco Collector, M.H. deYoung Memorial Museum


In process

Other
Not in D'Atri papers?

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This painting presents holes in the 4 corners

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Signature of the painting:

signature


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Curiosity:
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 the museum that he will include this work in his CR even if its made in cardboard and dated by him in 1918, a 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.

Therefore in his opinion this work should be considered as fake or as en "excepcional exception" ???

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Detail of the ear 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...

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The painting present clear fingerprints in various areas

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The painting was adhered to a rigid surface to avoid its curvature by pressing and during this process the pictorial surface was flattened in volume losing many of its original qualities.

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The painting framed at the de Young in 2017

framed for auction


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This painting is probably the sketch for the face features of Baranowski's full portrait

Woman with necklace amedeo modigliani

The differences between both works are more than evident, the head is clearly in another position, the posture is not the same,the figure is more
in profile than in the final work and the brushwork is done with more "impasto", etc. but as in the same case of another known paintings it is
undeniable they were made by the same hand

This image show both paintings one on top of the other in the same size, showing the changes Modigliani did from the sketch to the final work:

differences

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Another two portraits of the same sitter (of a total of 4 known) have surfaced each one at his level of trust based in the experts who support them:

Parisot /unknown data:
baranovski amedeo modigliani
Restellini / dated in 1917:
baranovski amedeo modigliani

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