ELVIRA SEATED AT A TABLE BY AMEDEO MODIGLIANI
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 329 Nº 323 Nº 270 YES 36/1918 Nº 283 ? YES
Date 1918 ? (Museum say 1919)
Title Elvira seated at a table - Elvira resting at a table - Elvira - Young brunette - Elvire enfant du peuple - Elvira working girl - Elvira the gir of the people
Materials Oil on canvas
Size 92.7 × 60.5 cm (Patani 92.4 x 60.6 - Pfannstiel 92 x 60)
Signature: Signed "modigliani" top right
Actual Location Saint Louis Art Museum, Sain Louis, Missouri, USA ( Inv. Nº 77:1968)
Provenance -?-
?
Léopold Zborowski, Paris
Simon Collection, Paris (1929 - still in 1934)
Paul Guillaume, Paris
Alex Reid & Lefevre, Ltd., London
Valentine Gallery (Valentine Dudensing), New York (1936)
Joseph Pulitzer Jr. Collection, St. Louis (Acquired from Valentine Gallery, 2/03/1936)

Saint Louis Art Museum, Sain Louis, Missouri, USA ( Inv. Nº 77:1968)
Saint Louis Art Museum, gift by Joseph Pulitzer Jr. 1968


In process

Bibliography -?-

Exhib. Cat. Italienische Maler, Zurich Kunsthaus, 1927
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p.51
Basler, Modigliani. Editions G. Cres, Paris, 1931, pl. 9
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1932 , pl. 4
Earp, The Modern Movement in painting, The Studio Ltd, London, 1935, pl. 9
Marsell, French Masters of the XXth Century in Valentine show, Art News, XXXIV, January, 1936, pp. 6-7
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1936-XIV, pl. 5
Marseille, 1936 - nº 15
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milan, 1950, pl. 5
T. Soby, Modigliani: Paintings, Drawings, Sculpture. Exh. cat., The Cleveland Museum of Art, New York, 1951 - nº 52
Lipchitz, Amedeo Modigliani, H.N. Abrams, New York, 1952
Lipchitz, Amedeo Modigliani, H.N. Abrams, New York, 1953
San Lazzaro, Modigliani peintures, Les Éditions du Chêne, Paris, 1953, pl. 43
Lipchitz, Amedeo Modigliani, H.N. Abrams, New York, 1954, pl. 50
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 329 (dated 1919)
M. Knoedler & Co., Modern Painting, drawing & Sculpture, Fogg Art Museum, 1957 - nº 46, pp. 63- 64, pl. 22
Roy , Modigliani, Skira, Lausanne, 1958, p. 96
Borchert, Faber and Faber, London, 1960, pl. 7
Ceroni, Amedeo Modigliani : dessins et sculptures ; avec suite du catalogue illustre des peintures, Edizioni del Milione, Milano, 1965 - nº 205
Pavolini, Modigliani, Union Générale d'Éditions en accord avec l'Unesco, Milano 1966, pl. 30
Geza, Modigliani, Budapest, Corvina Kiadó, 1969, pl. 22
Diehl, Modigliani, Ed. Flamarion, Paris, 1969, p. 86
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 270 (dated 1918)
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 323 (dated 1918)
Burlington Magazine, Acquisitions of Modern Art by Museums, April 1972
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 270
Roy, Modigliani, Nathan, Paris, 1985, p. 74
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 174
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 36/1918
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 283 (dated 1918)
Wayne, Modigliani & the Artists of Montparnasse, Abrams-Albright-knox gallery, New York, 2002, p. 115
Fraquelli, Modigliani, Fort Worth and Paris, in Burlington Magazine, nº 145, 2003, pp. 254-255.
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Exhib. catalogue, Modigliani et l'Ecole de Paris: en Collaboration Avec le Centre Pompidou et les Collections Suisses, Martigny, 2013


In process

Exhibitions -?-
?
Dresden, Internationale Kunstausstellung, Staatliche Kunstsammlungen Dresden, 1926
Zurich, Italianische Maler, Zurich Kunsthaus, 1927
New York, Sice Cézanne, Valentine Gallery, 1931-32
Brussels, Modigliani: Retrospective Exhibition. Palais des beaux-arts, 1933 - nº 48
Basel, Amedeo Modigliani, Kunsthalle, 1934 - nº 40
New York, XXth century french paintings, Valentine Gallery, 1936
Cambridge, Massachusetts, Modern paintings, Dunster House, Harvard University, 1936
Philadelphia, French Art, Philadelphia Museum of Art, 1937
St. Louis, 20th Century Art, City Art Museum of St. Louis, 1941
Washington, Amedeo Modigliani, The Phillips Collection, 1945
St. Louis, A St. Louis Orivate Collection, City Art Museum of St. Louis, 1947
Cleveland, Modigliani - Soutine Exhibition, Cleveland Museum of Art, 1951
New York, Modigliani - Soutine Exhibition, The Museum of Modern Art, 1951
New York, Modern Painting in the Pulitzer Jr. Coll. , Knoedler & Co. 1957
Cambridge, Massachusetts,Modern Painting in the Pulitzer Jr. Coll., Fogg Art Museum, Harvard University, 1957 - nº 46
Cambridge, Massachusetts,Works of Art from the Collections of the Harvard Class of '36, Fogg Art Museum, Harvard University, 1961
Boston. Modigliani: Paintings and Drawings. Exh. cat., Museum of Fine Arts, 1961 - nº 37
Los Angeles. Modigliani: Paintings and Drawings. Exh. cat., Los Angeles County Museum, 1961 - nº 37
St. Louis ,Works of Art of the Nineteenth and Twentieth Centuries, Collected by Louise and Joseph Pulitzer, Jr., City Art Museum of St. Louis, 1968
St. Louis, 20th Century Masterworks from St. Louis Collections, St. Louis Art Museum, 1974
Liege, Amedeo Modigliani 1884-1920, Musée d'Art Moderne de la Ville de Liege, 1981
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981 - nº 72
Tokyo, Modigliani exhibition, National Museum, 1985 - nº 94
Nagoya, Modigliani exhibition, Aichi Prefectural Art Gallery, 1985 - nº 94
Cambridge, Massachusetts,Modern Art from the Pulitzer Collection: 50 Years of Connoisseurship, Fogg Art Museum, Harvard University, 1988
Buffalo NY, Modigliani and the artists of Montparnasse, Albright-Knox Gallery, 2002-2003 - nº 38
Fort Worth, Modigliani and the artists of Montparnasse, Kimbell art Museum, 2002-2003
Los Angeles, Modigliani and the artists of Montparnasse, Los Angeles County Museum of Art, 2002-2003
Martigny, Modigliani & the school of Paris, Fondation Pierre Gianadda, 2013 ?
London, Modigliani, Tate Gallery, 2017

In process

Other
Nº48 in D' Atri papers, as Elvire, enfant du peuple (Elvire accoude a une table) - 92.5 x 60 - dated 1918 - Provenance in Zborowski > Simon 1929 > Guillaume 1933

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The signature of the painting is absolutely anomalous, it is made in black oil and the "m" is made in 3 brushstrokes, not joint to the "o" that is open, the "d " is closed and made
with a double brushstroke, the "i" is alone and the dot is double , the "g" makes a very simple shape non compensed, the "l" is rare and the curve that joints is very open, the "i" is alone,
"a" is alone, "ni" is joint in one unbroken trace, The linearity of the signature is none, with a high bump in the center, 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

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the eyes correspond to the style of 1918-1919 and you can observe how the color in a gradient format eats the black line, maintains some of its cubist traces but the
gradient is in color not with shadow, in this painting it is especially striking as Modigliani paints the eyebrows in the form of small discontinuous brushstrokes, achieving
a curious effect.

The nose already presents some of its final characteristics, but the reddish / orange color of the face is not yet the pale pink of some of his final works, the line remains.
Modigliani, as in many other works, combines the gradient with the solid spots of color, as you can see in the fin of the nose where there is a solid block while the body
of the nose is painted with color gradient. The central point of brightness at the tip of the nose brings vivacity and breaks the schematic simplicity.

eyes


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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)

eyes

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 ear is 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 with a black line, is curious to see something that according to
Marc Restellini is not important getting as much attention as other areas, in this particular case he has never noticed the pointy and detailed ears, since as he says "he
has never seen pointy ears in a work by Modigliani" or non perfect lines...

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Detail of the loose hair that Modigliani liked so much:

detail

Detail of the brushstroke close to the figure, which is done in the form of short, straight brush strokes, while in many others we can see brushstrokes in zig zag
in the same area, in this case Modigliani makes use of another brush stroke, the medium is adapts to its purpose, not vice versa.

hair details

Detail of the large round brushstrokes that form something similar to small fans but in fact they are the end of a long stroke, this feature is seen in a few of his paintings,
but is totally Modigliani in the way of painting linear contrast surfaces, this same brush end is visible in his famous side stripes.

hair details

Detail of the small Macchioli brushstrokes that Modigliani likes so much, in this case he applies them on the hand to shape the shadow outline
of the finger and give vivacity.



More l Macchioli brushstrokesin the elbow, this small spots are very common in the borders.

macchioli brush

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The painting framed at London, Modigliani, Tate Gallery, 2017

The painting framed at London, Modigliani, Tate Gallery, 2017


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