Seated girl with black hair by amedeo modigliani
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
YES Nº 267 Nº 234 YES 26/1918 Nº 246 ? YES
Date 1918
Title Young woman seated (hands crossed) - Young woman seated with hands in lap - Brunette seated - Black hair - Seated girl with black hair - Young seated girl with brown hair
Materials Oil on canvas
Size 93 x 59.5 cm
Signature: Signed "modigliani" top right
Actual Location Musée National Picasso, Paris, France (Inv. Nº RF1973-81)
Provenance -?-
?
Leopold Zborowski, Paris
Paul Guillaume, Paris
Pablo Picasso Collection, Mougins

Musée National Picasso, Paris, France (Inv. Nº RF1973-81)
Donated to the French state in tax payment 1973 by Picasso inheritance

In process

Bibliography -?-
?

??
Salmon, Modigliani, sa vie et son oeuvre, Ed. des Quatres Chemins, Paris, 1926, pl. 14
Georges-Michel, Les Montparnos, Paris, 1929, p. 150
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 26
Taguchi, Modigliani, Alier-Sha Tokyo, 1936, pl. 15
San Lazzaro, Modigliani-Portraits, Hazan, Paris, 1957, pl. 11
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 267 - titled Young woman seated ( hands crossed) - dated 1918
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 234 - titled Young woman with hands crossed - dated 1918
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 234 - titled Young woman with hands crossed - dated 1918
Bweguin,Lamaistre, Donation Picasso, Musée du Louvre, 1978, p. 64-65
Zurcher, Modigliani, Ed. F. Hazan, Paris, 1980, pl. 55
Musée de Art Moderne de la Ville de Paris, Modigliani exhib. cat., 1981, pp. 34-35, 166 - nº 95
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 164
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990- nº 75, p. 126
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 26/1918- titled Seated young woman (the hands crossed) - dated 1918
NOTE: Parisot mention it's nº 273 in Pfannstiel but it does not match in history and publications
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 246 - titled Young woman seated, hands in her lap - dated 1918
Krystof, Amedeo Modigliani: The Poetry of Seeing, Taschen, Cologne,1996, 2000, pp. 88-89
Wayne, Modigliani & the Artists of Montparnasse, Abrams-Albright-knox gallery, New York, 2002 - nº 24, p. 101 - titled Black hair (young seated girl with brown hair) - dated 1918
Fraquelli, Modigliani, Fort Worth and Paris, in Burlington Magazine, nº 145, 2003, pp. 254-255
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, pl. 59, p. 143 - titled Young seated girl with brown hair - dated 1918
Fraquelli, Modigliani and His Models. Exh. cat., Royal Academy of Arts. London, 2006 - nº 24, pp. 106-107 - titled Seated girl with brown hair - dated 1918
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Baldassarri, Musée Picasso Paris, Musée Picasso, Flammarion, Paris 2014, p. 549
Lacourt, Levy, Senot, Amedeo Modigliani, L'oeil intérieur, LaM. Lille Métropole musée d'art moderne, 2016
Ireson/ Lewis, Modigliani, London, Tate Gallery, 2017


In process

Exhibitions -?-
?

Paris, la grande peinture contemporaine à la collection Paul Guillaume, Galerie Bernheim-Jeune, 1929
Paris, la donation Picasso, Musée du Louvre, 1978 - nº 26
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981- nº 95
Martigny, Modigliani, Fondation Pierre Gianadda, 1990 - nº 88
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 75
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº 75
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
Munich, Picasso und seine Sammlung , Kunsthalle der Hypo-Kulturstiftung, 1998
Treviso, Roberto Tassi e i pittori, Casa dei Carraresi, Centro Convegni ed Esposizioni, 1998
Buffalo NY, Modigliani and the artists of Montparnasse, Albright-Knox Gallery, 2002-2003 - nº 24
Fort Worth, Modigliani and the artists of Montparnasse, Kimbell art Museum, 2002-2003 - nº 24
Los Angeles, Modigliani and the artists of Montparnasse, Los Angeles County Museum of Art, 2002-2003 - nº 24
New York, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005
Toronto, Modigliani: Beyond the Myth, The Art Gallery of Ontario, 2004 - 2005
Washington D.C., Modigliani: Beyond the Myth, The Phillips Collection, 2005
London, Modigliani and his models, Royal Academy of Arts, 2006 - nº 24
Moscow, Meeting Modigliani, Pushkin State Museum of Fine Arts, 2007
Barcelona, Picasso coleccionista, Museo Picasso, 2007-2008
Brisbane, Picasso and his collection, Gallery of Modern Art, 2008
Madrid, La colección Picasso, MNCARS, 2008
Paris, La collection, nouvel accrochage, Musée national Picasso, 2008-2009
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
Genova, Modigliani, Palazzo Duccale, 2017
London, Modigliani, Tate Gallery, 2017-2018

In process

Other

Not in D'Atri papers?

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This painting was part of the first serious study using modern forensic sciences conducted by the RNMF in 1981

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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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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...

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The painting while in the Picasso personal collection:

picasso home collection

Note:
Picasso tells in one of his notes that he had among his possessions a "Good Modigliani" but that in a creative moment and in the absence of canvases,
he decided to use it to paint one of his paintings so it was lost forever.
Much later at Seeing the value reached by Modigliani, he decided to buy one from Paul Guillaume, in his words, he says not of the high quality of the
destroyed, but that he does not regret his action.

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The painting framed at Villeneuve d'Ascq, L'oeil intérieur, LaM. Lille Métropole musée d'art moderne, 2016:


The painting framed at Villeneuve d'Ascq, L'oeil intérieur, LaM. Lille Métropole musée d'art moderne, 2016



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