WOMAN WITH BLACKwoman with blue eyes
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
NO Nº 218 NO YES 38/1918 Nº 224 YES ?
Date 1918
Title Woman with blue eyes
Materials Oil on canvas
Size 81 x 54 cm
Signature: Signed "modigliani" top right
Actual Location Musée D'Art Moderne de la ville de Paris, France ( Inv. Nº AMVP 1681)
Provenance -?-

?
Maurice Girardin

Musée D'Art Moderne de la ville de Paris ( Inv. Nº AMVP 1681 - AMP 1681)
Legacy of Maurice Girardin in 1953

In process

Bibliography -?-

Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 218 (dated 1917)
Musée de Art Moderne de la Ville de Paris, Modigliani exib. cat., 1981, pp. 40, 168 - nº 98 (dated 1918)
Parisot, Modigliani, il segno, Electa, Florence, 1990, p. 153
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 224 (dated 1917)
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002 - nº 97, pp. 376-377 (dated 1919)

In process

Exhibitions -?-
Paris, Musée de Petit Palais, 1953-1960
Paris, Collection Maurice Girardin, Petit Palais, 1954 - nº 257
Metz- Nancy, 1958 - nº 38
Marseille, Modigliani, Musée Cantini, 1958 - nº 33
Roma, Modigliani, Galleria Nazionale d'Arte Moderna, 1959 - nº 37
Paris, Musée d'Art Moderne de la Ville de Paris, 1960- Today
Tokyo, 1961-62 - nº 316
Duisburg, 1965 - nº 431
Montrouge, 1966
Montreal, 1967 - nº 29
Tours, 1970
Tel Aviv, 1971
Paris-Ixelles, 1979, nº 140
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981 - nº 98
Tokyo, Modigliani exhibition, National Museum, 1985 - nº 108
Nagoya, Modigliani exhibition, Aichi Prefectural Art Gallery, 1985 - nº 108
São Paulo, un choix de Picasso à Soulages, MASP - Museu de Arte Moderna de Sao Paulo, 1998
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 97
Bochum, Le droit à l'image.Perspectives juives dans l'art moderne, Kunstmuseum Bochum, 2003-2004
Jackson, Paris Moderne: Art Deco Furniture and Paintings from the Musée d'art moderne de la Ville de Paris, Mississippi Museum of Art, 2004
Miami, Paris Moderne: Art Deco Furniture and Paintings from the Musée d'art moderne de la Ville de Paris, , Bass Museum of Art, 2004- 2005
Nagoya, La vie moderne. Paris 1925-1937, Matsuzakaya Museum of Art, 2005
Toyama,La vie moderne. Paris 1925-1937, Museum of Modern Art, 2005
Osaka, La vie moderne. Paris 1925-1937, Daimaru Museum Umeda, 2005
Taïpei, La vie moderne. Paris 1925-1937, Taïpei Fine Arts Museum, 2005- 2006
Kobe , Entre Primitivisme et Nostalgie - Quelques artistes de l'Ecole de Paris, Hyogo Prefectural Museum of Modern Art, 2006
Okazaki, Entre Primitivisme et Nostalgie - Quelques artistes de l'Ecole de Paris, Okazaki City Museum, 2006
Kumamoto, Entre Primitivisme et Nostalgie - Quelques artistes de l'Ecole de Paris, Kumamoto Prefectural Museum of Art, 2006
Torino, Modigliani e la Bohème di Parigi, Galleria d’Arte Moderna, 2015

In process

Other
Not in D' Atri papers?

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Text in page 40 of the Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981, the first serious Modigliani study using modern techniques made by Dra. Suzy Delbourgo
& Dra. Lola Faillant-Dumas under the III.- Modigliani et l/analyse scientifique by Madeleine Hours

L' Etude au Laboratoire de Recherche des Musées de France, pp. 21-47

..nous rapprocherons de ce portrait celui de la Femme aux yeux bleus (n° 98), bien que nous devions constater que nous ne retrouvons dans cette oeuvre que peu des
caractéristiques habituelles de Modigliani. Si les empâtements qui forment le visage, le cou et les mains sont brossés d'une écriture nerveuse qui rappelle celle du peintre.
le tracé original qui d'ordinaire cerne magis-tralement les volumes est presqu'inexistant.

Translation:

...We will compare this portrait of the Woman with blue eyes (n ° 98), although we have to note that we find in this work only few of the usual characteristics of Modigliani.
If the impasto that forms the face, the neck and the hands are brushed with a nervous writing that recalls that of the painter. the original layout, which usually encircles
magistral volumes, is almost non-existent.

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This supposes a conclusion, the authors of the study soften the answer and elegantly say that "remember" when the reality is that they should say "imitates" what I will come to assume that it is a fake.
The pressures to which the two investigators who carried out the study were subjected were quite strong, leaving the museum of the town of Paris without any of the three Modigliani that they owned.
So they decided to leave for later the final conclusions in the case of this piece, we assume that in the current study underway they will have enough value to leave reality rise.

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The signature of the painting is absolutely anomalous, it is made in black oil and the "m" is in two strokes and joint to the "o" that is closed, the "d " is open and almost joint to the "o" by a very
clear and almost lost trace , the "i" is joint to the "g" that is very curved and wide in body joint to the "l" that also is very open and wide in body joint to the "i" that is joint to the "a" that is joint to the "n"
that is joint to the "i" that makes a final curve almost the same size as the i; in resume "mod" is joint and "igliani" is joint in and unbroken trace. The linearity of the signature is complete with a little curve
in the center, that rises and goes down, 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 in visible light

In negative:

negative

In infrared:

infrared

extra depht

As can be seen in the light joint of the O to the D and lower side of the G in the upper side of the L in the right side of the N there is a previous trace
made in other pigment and after it was covered with oil.

why will Modigliani sign in pencil/charcoal and then cover it with oil following the line?


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The face that this painting presents are extremely anomalous within the work of Modigliani, in a first impression one might think that there are many of his pictorial
tricks, but analyzing them carefully one can see that they are all out of place and definitely in a way that is not present in no other painting by Modigliani.

eyes

1. The continuous line of the eyebrows can be seen in many of his works but Modigliani usually adds a point of flexion to the eyebrows in a way that accentuates the differences,
in this case you do not see any clearly, but let's say that they could be correct.

eyebrows

2. The eyelids or the pattern that shapes them is normal in Modigliani but they are never both on the same side and identical, perhaps in the infrared yes, but never in the visual,
completely abnormal eyelids within their work.

the eyelids
Note: this image is turned 34 degrees to put the eye in the same line (in the original the head is turned to the right)

3. The color and the incarnation are visible in other works of Modigliani but never as in this, we see combined the famous Macchiaioli reminiscent points but not in the areas of edges,
they are in the middle of the right eyelid, and in the end of the left eyelid . This is not seen in any of Modigliani's works.


eyes


3. The nose and its incarnation is also compromised compared to many other works of Modigliani, on the one hand we see shaded in dark and on the other hand line in black and on the tip
weathered in color, this shading is done with a red or dark sienna while the small spots of the eyelid are with a clear sienna, you can not see anywhere in the nasal fins the use of color in flat
brushstroke as you can see in the works of this same period, finally highlighting the configuration that although the filtrum seems to continue the line of the nose, in the works of Modigliani he
likes to play using it also as a point of contrast, that in this case is not seen. It could be then that the work is not a production of 1918 and more of 1917, no. The lack of paint volume (I mean how
much painting is used - the impasto-), the type of light painting is only done in the final two years, another anomaly to take into account.

border

4. In the neck the small spots are again observed to conform the volume but not only on the edges, throughout the construction, it is too little organized
within the pictorial space of Modigliani.

detail of the neck


5. In the hand we see again the stains in a totally disorganized way, combined with long brushstroke and out of place, not like in the rest of the works. t
This hand has very little to do with other hands by Modigliani.



6. In the hair we see again the same effect is very Modigliani in general but disorganized and lacking in logic in particular.
There are many of the classic hair elements of other paintings but performed in an unnatural way.

side

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The infrared of this painting again say that it is very Modigliani but is not like the rest of Modigliani.

basic infrared

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The painting framed at the Musée d'Art Moderne, Paris in 2017:

framed

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Also in the Maurice Girardin Legacy the Museum received the paintings Lunia Czechowska with fan (stolen and probably lost) and Femme aux boucles d'oreilles
that was proven to be fake in the 1981 study.

Lunia Czechowska with fan amedeo modiglianiWoman with earrings amedeo modigliani


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