girl in a  black dress (apron or pinafiore) by amedeo modigliani
Image Courtesy of Kunstmuseum Basel
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 301 Nº 290 Nº 241 YES YES Nº 253 YES ?
Date 1918
Title Girl in a black dress - Girl in a black apron - Girl in a black pinafiore - Girl Standing in Black Pinafore - the little girl
Materials Oil on canvas
Size 92.5 x 60.5 cm (Ceroni 90 x60 -
Signature: Signed "modigliani" top right
Actual Location Kunstmuseum Basel, Switzerland (Inv. Nº G1975.1)
Provenance -?-
?
Léopold Zborowski, Paris
Bernheim-Jeune, Paris
Roland Ziegler Collection, Basel
Georgette Denise Simon Collection, Basel

Kunstmuseum Basel, Switzerland (Inv. Nº G1975.1)
Gift of Georgette Denise Simon in 1975

In process

Bibliography -?-

Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 50
Basler, Modigliani. Editions G. Cres, Paris, 1931, pl. 12
Carli, Amedeo Modigliani, De Luca, Roma 1952, pl. 14
Descargues, Amedeo Modigliani, Braun, Paris, 1954 , pl. 28
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 301 (dated end 1917 first days 1918)
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 290 (dated 1918)
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 241(dated 1918)
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 241
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 253 (dated 1918)
Monti a cura de R. Chiappini, Catalogue Amedeo Modigliani, Lugano, Skira, 1999 - nº 49
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002 - nº 75, pp. 328,329 (dated 1918)
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007


In process

Exhibitions -?-

Roma, Modigliani, VI Quadriennale, Palazzo delle Exposizioni, 1951-1952
Paris, Cent Tableaux de Modigliani, Galerie Charpentier, 1958 - nº 55
Marseille, Modigliani, Musée Cantini, 1958 - nº 11
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981 - nº 58
Tokyo, Modigliani exhibition, National Museum, 1985 - nº 95
Nagoya, Modigliani exhibition, Aichi Prefectural Art Gallery, 1985 - nº 95
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 44
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº 44
Lugano, Amedeo Modigliani, Museo d'Arte Moderna, 1999 - nº 49
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 75
Milano, Modigliani: l'ange au visage grave, Palazzo Reale, 2003 - nº 53
Moscow, Meeting Modigliani, Pushkin State Museum of Fine Arts, 2007
Bonn, Modigliani, Bundeskunsthalle, 2009 - nº 109
Martigny, Modigliani & the school of Paris, Fondation Pierre Gianadda, 2013 - nº 18


In process
Other
Nº 89 in D' Atri papers as "Jeune fille" - 91 x 60 - Dated 1916 - Private Collection, Basel 1934

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This painting presents holes in the 4 corners.

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Detail of signature in visible normal light:

signature in visible light

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The painting framed at Martigny, Modigliani & the school of Paris, Fondation Pierre Gianadda, 2013:

The painting framed atMartigny, Modigliani & the school of Paris, Fondation Pierre Gianadda, 2013

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Detail of the ear 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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