ELVIRA WITH WHITE COLLAR BY AMEDEO MODIGLIANI
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
NO? Nº 322 Nº 269 YES ? Nº 282 YES ?
Date 1918 ? (Rastellini dates 1917-1918)
Title Elvira with white collar - la fille du peuple - the girl of the people - the doll girl - La fille poupée
Materials Oil on canvas
Size 92 x 65 cm ?
Signature: Signed "modigliani" top right
Actual Location Private Collection ?
Provenance -?-
?
Léopold Zborowski, Paris (1929)
?
Paul Guillaume, Paris
?
?
Netter Collection, Paris (?)
?
Private Collection?


In process

Bibliography -?-

Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 269
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 322
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 282
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007

In process

Exhibitions -?-
?
?
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
Not in D'Atri papers?

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This painting presents holes in the 4 corners, two covered.

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The signature of the painting is absolutely anomalous, it is made in black oil and the "m" is joint to the "o" that is closed, the "d " is not closed, the "i" is joint to the "g" that makes
a very triangular shape non compensed, the "l" is totally linear, "igliani" is all together in one unbroken trace, The linearity of the signature is complete in 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:

signature

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Eyes are totally 1916-1917 in concept but the color, a combination of gradients with patches are clearly from 1917-1918.
Nose is totally from 1918-1919 there is no line except at the end, clearly like the noses of his last works.

eyes

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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...


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 see something that according to
Marc Restellini is not important getting so much attention, 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" or a broken line in the ears.

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Detail of the short 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


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Detail of the small dabs macchiaioli style very common in many Modigliani works:

detail

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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

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There is a very similar version in the D'Atri papers size 92 x 60 cm actually at unknown location:

unknown woman seated with white collar



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