Gaston Modot with beret g
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
NO Nº 317 Nº 279 YES 45/1918 Nº 290 YES YES
Date 1918
Title Gaston Modot with beret - the actor Gaston Modot
Materials Oil on cardboard (the museum say oil on canvas over cardboard on wood - its just textured cardboard - Patani, Ceroni, Parisot, Lanthemann, Restellini oil on canvas)
Size 92.7 x 53.6 cm (Ceroni, Lanthemann, Patani, Parisot 92 x 54 cm)
Signature: Signed "modigliani" top right
Actual Location Centre Pompidou, Paris, France ( Inv. Nº AM 2002-128)
Provenance -?-
?

M. Gouthier Collection, Brussels/Brazil
Wescott Collection, New Jersey ( by 1954)
Gouthier Collection, Brussels ( by 1958)
Alex Maguy Collection, Paris

Centre Pompidou, Paris, France ( Inv. Nº AM 2002-128)
Donation of Alex Maguy - Glass, 2002

In process

Bibliography -?-
?

T. Soby, Modigliani: Paintings, Drawings, Sculpture. Exh. cat., The Cleveland Museum of Art, New York, 1951, p. 52
Modigliani J. , Modigliani: Man and Myth, Orion Press, New York, 1958 - nº 48
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 138
Modigliani J. , Modigliani sans légende, Gruend, Paris, 1961 - nº 48
Lipchitz, Modigliani, 1966 , p. 14
Ponente, Modigliani, Ed. Toray, Barcelona, 1969 - nº 43
Diehl, Modigliani, Ed. Flamarion, Paris, 1969, p. 52
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 317 (dated 1918)
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 278
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 278
Diehl, Modigliani, Ed. Flamarion, Paris, 1977, p. 53
Musée de Art Moderne de la Ville de Paris, Modigliani exib. cat., 1981, p. 152
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 188
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 45/1918
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 290 (dated 1918)
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Ireson, Fraquelli, Modigliani, London, Tate Modern, Skira Rizzoli, London, 2017, p. 97


In process

Exhibitions -?-
?

Cleveland, Modigliani - Soutine Exhibition, Cleveland Museum of Art, 1951
New York, Modigliani - Soutine Exhibition, The Museum of Modern Art, 1951
Houston, Modigliani, Contemporary Arts Museum, 1954 - nº 7 - title portrait of an actor
Paris, Cent Tableaux de Modigliani, Galerie Charpentier, 1958 ???
Tokyo, Modigliani, Grand Magazin Seibu, 1968 - nº 23
Kyoto,Modigliani, National Museum of Art , 1968
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981 - nº 74
Martigny, Modigliani & the school of Paris, Fondation Pierre Gianadda, 2013
Pisa, Amedeo Modigliani et ses amis, BLU | Palazzo d’arte e cultura, 2014- 2015
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
London, Modigliani, Tate Modern, 2017-2018

In process

Other
Not in D' Atri papers?

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This painting presents holes in the 4 corners, all of them covered by restoration.

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Detail of signature in visible normal light:

signature in visible light

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Curiosity:

Marc Restellini say there is no cardboard in Modigliani's oeuvre after 1915 and that everything done later in cardboard is fake but he say this
painting authentic even if its made in cardboard and dated by him in 1917 or 1918, a nonsense.

This extract from a report by him will give deeper comprehension of the private expert way of working:
restellini-nonsense
Translation:
4 / Study of support and technique
a) The cardboard as a support for the works of Amedeo Modigliani
Modigliani used cardboard as a medium for thirty works. In 1915, he made 14 works of this type, and this is the last year in which he uses this medium.
From 1916, Modigliani never uses this medium because it is supported by the merchants Paul Guillaume (whose personal collection was given to the French
State and is exposed at the Musée de l'Orangerie in Paris) and Leopold Zborowski. It is thus supplied in canvases by these merchants and therefore no longer
needs to use poor media such as cardboard.

This support does not exist at Modigliani after 1915.

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


framed


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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 hat...

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There is another painting with the same sitter:

Gaston Modot amedeo modigliani -Gaston Modot with hat amedeo modigliani



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