ELVIRA TORSO NUDE  BY AMEDEO MODIGLIANI
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 338 Nº 325 Nº 272 YES 16/1918 Nº 285 ? ?
Date 1918 ?
Title Elvira nude torso - Elvira nude- Nude young brunette - Standing nude - Elvire - la fille du poupée
Materials Oil on canvas
Size 100 x 65 cm ( Ceroni, Patani 92 x 60 )
Signature: Signed "Modigliani" top right
Actual Location Kunstmuseum, Bern, Switzerland ( Inv. Nº G2223)
Provenance -?-
Patani:
Léopold Zborowski, Paris ?
Sabouraud Collection, Paris (Acquired 1919)
Galerie Bing, Paris (Acquired 1945)
Walter Hadorn Collection, Bern

Kunstmuseum, Bern, Switzerland ( Inv. Nº G2223)
Gift of Walter & Gertrud Hadorn


- Other provenance:

Lunia Czechowska
Bignou, Paris

Walter Hadorn Collection, Bern

Kunstmuseum, Bern, Switzerland ( Inv. Nº G2223)
Gift of Walter & Gertrud Hadorn



In process

Bibliography -?-

Deutsche Kunst und Dekoration, Gemälde von Modigliani, Verlagsanstalt Alexander Koch, XXVIII - July 1925, p. 205
Salmon, Modigliani, sa vie et son oeuvre, Ed. des Quatres Chemins, Paris, 1926, pl. 31
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 53
Basler, Modigliani. Editions G. Cres, Paris, 1931
Taguchi, Modigliani, Alier-Sha Tokyo, 1936, pl. 26
Franchi, Modigliani, Arnaud, Firenze, 1944, pl. 30
Franchi, Modigliani, Arnaud, Firenze, 1946, pl. 47
Venturi, Pittura Contemporanea, Milan 1948, p. 152
San Lazzaro, Modigliani peintures, Les Éditions du Chêne, Paris, 1953, pl. 16
Jedlicka, Modigliani, E. Rentsch, Zürich, 1953, pl. 41
Descargues, Amedeo Modigliani, Braun, Paris, 1954, pl. 11
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 338 /dated 1919)
Fels, 1956, p. 14
Roy , Modigliani, Skira, Lausanne, 1958, p. 85
Cartier, Modigliani Nus, Hazan, Paris, 1958, pl. 9
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 207
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Zurich, 1958, pl. 53
Borchert, Faber and Faber, London, 1960, pl. 8
Modigliani J. , Modigliani sans légende, Gruend, Paris, 1961, pl. 8
Ceroni, Amedeo Modigliani : dessins et sculptures ; avec suite du catalogue illustre des peintures, Edizioni del Milione, Milano, 1965 - nº 207
Diehl, Modigliani, Ed. Flamarion, Paris, 1969, p. 68
Geza, Modigliani, Budapest, Corvina Kiadó, 1969, pl. 27
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 272 (dated 1918)
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 325
Dalevèze, Modigliani, Lausanne, 1971, p. 41
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 272
Zurcher, Modigliani, Ed. F. Hazan, Paris, 1980, pl. 59
Musée de Art Moderne de la Ville de Paris, Modigliani exib. cat., 1981 - nº 73, p. 151
Roy, Modigliani, Nathan, Paris, 1985, p. 77
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 175
Parisot, Modigliani, Graphis Arte, 1988, p. 175
Mondadori, Modigliani a Montparnasse, Mondadori, Milano, 1988, p. 82
Angela Ceroni, Les nus, Biblioteque des Arts, Paris, 1989, p. 91
Orion Press, Tokyo, 1989 - nº 59
Parisot, Modigliani, il segno, Electa, Florence, 1990, p. 175
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990, p. 117 - nº 66, kat 77
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 285 (dated 1918)
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 16/1918
Kruszynski. Amedeo Modigliani: Portraits and Nudes. Munich, 1996, p. 92
Da Rosa, Modigliani, Giunti G. E, Firenze, 1996, p. 39
Krystof, Amedeo Modigliani: The Poetry of Seeing, Taschen, Cologne,1996, 2000, p. 62
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007



In process

Exhibitions -?-
?
Brussels, Modigliani: Retrospective Exhibition. Palais des beaux-arts, 1933 - nº 41
Basel, Amedeo Modigliani, Kunsthalle, 1934 - nº 61
Berne, 1946 - nº 101
Bern, Modigliani, Campigli, Sironi, Kunsthalle, 1953 (?)
Lausanne, Exposition Nationale Lausanne, 1964
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981 - nº 73
Verona, Modigliani a Montparnasse, Palazzo Forti, 1988
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 66
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991
Martigny, Modigliani & the school of Paris, Fondation Pierre Gianadda, 2013
London, Modigliani, Tate Gallery, 2017


In process

Other
Nº 41 in D' Atri papers as Elvire ( la fille du poupée) - 92 x 60.5 - dated 1917 - Provenance in Sabourand Collection, Paris ( in 1933)

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The signature of the painting is absolutely anomalous, it is made in black oil and the "M" is in capital letter and not joint to the "o" that is closed, the "d " is open, the "i" is alone
and the dot is very far from the line , the "g" makes a very triangular shape non compensed, like the ones Marc Restellini say he has never seen in a Modigliani work,
the "l" is rare and the curve that joints the L to the G is very strange, the "i" is alone and the dot is even more far than previous dot "ani" 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

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The eyes are treated in a very schematic, as in the works of the period 16-17 but the coloring and the incarnation is closer to the works of period 18-19,
although the deformation of the left eyelid is clearly related to the Period of 1916 , it is undoubted that the nose and the nasal bridge are the work of
1918-1919, in the same work we can see the evolution of Modigliani, as is usual in his work.

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)

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 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 to this must be added the inside of the ear with a black spot , is curious to see something that according to
Marc Restellini is not important getting so much attention, in this particular case he has never noticed the pointy and detailed ears?, he says "he has never seen pointy
ears in a work by Modigliani"

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Detail of the loose hair that Modigliani liked so much:

hair details

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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.