girl in a stripped black apron by amedeo modigliani
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 272 Nº 276 NO YES ? NO YES YES
Date 1916-19? (Wayne dates 1916-19? - Restellini ?)
Title Young woman, hand in bust - Seated red haired young woman - young woman - Beatrice Hastings seated nude - Bust of young woman in chemise - young swedish girl
Materials Oil on canvas
Size 65.72 x 50.17 cm (Wayne 64.8 x 50.2)
Signature: Signed "modigliani" top right
Actual Location Dallas Museum of Art, Dallas, Texas, USA ( Inv. Nº 1981.126)
Provenance -?-
?
Leopold Zborowski, Paris
(Guillaume files)
?
Marcel Bernheim Collection, Paris (by 1930)
Bing Gallerie, Paris
Private Collection, Paris
?
Marlborough-Gerson Gallery, New York (stock nº NOS8035)
?
Dallas Museum of Art, Dallas, Texas, USA ( Inv. Nº 1981.126)
Gift of the Meadows Foundation, Incorporated 1981

In process

Bibliography -?-

?
Einstein, Die Kunst des 20. Jahrhunderts, Berlin, 1926
Salmon, Modigliani, sa vie et son oeuvre, Ed. des Quatres Chemins, Paris, 1926, pl. 25
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1927
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 44
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 272 (dated 1918)
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 276 (dated 1918)
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, pp. 36-37
Wayne, Modigliani & the Artists of Montparnasse, Abrams-Albright-knox gallery, New York, 2002, p. 92
Fraquelli, Modigliani, Fort Worth and Paris, in Burlington Magazine, nº 145, 2003, pp. 254-255
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Restellini, Le silence éternel, Pinacotheque de Paris, 2008, p. 142 (mention as by the hand of Modigliani)

In process

Exhibitions -?-
?

Venezia, Mostra retrospettiva di Modigliani – Curated by Lionello Venturi - Biennale di Venezia , Sala XII degli Appels d'Italie, 1930 - nº 32
Paris, Du XVe au XXe siècle. George Petit Galeries, 1931
Paris, La femme 1800-1930, Galerie Bernheim Jeune, 1948 - nº 62
Paris, Peintres de portraits, Galerie Bernheim Jeune, 1952 - nº 41 as la jeune suedoise
Dallas, Dallas collects, Dallas Museum of fine arts, 1978 - nº 87
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 78
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº 78
Buffalo NY, Modigliani and the artists of Montparnasse, Albright-Knox Gallery, 2002-2003 - nº 15
Fort Worth, Modigliani and the artists of Montparnasse, Kimbell art Museum, 2003 - nº 15
Los Angeles, Modigliani and the artists of Montparnasse, Los Angeles County Museum of Art, 2003 - nº 15
Madrid, Modigliani y su tiempo, Museo Nacional Thyssen Bornemisza, 2008
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

In process
Other
Not in D' Atri papers?

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This painting presents holes in the 4 corners (2 covered by restoration)

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Detail of signature in visible normal light:

signature in visible light


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Detail of the brush play and the spots used to create shadows:

Hand detail  of the spots shadows application
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The same sitter or almost identical is identified in a lost painting as "Beatrice Hastings or woman with cameo" dated 1917:
beatrice hastings with cameo amedeo modigliani
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Very simlar compositions:

Red-haired Young Woman in a Chemise, half figure amedeo modigliani- Red-haired Young Woman in a Chemise amedeo modigliani- The young milkmaid amedeo modigliani-
Woman with necklace/Mme. Cheron :

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The painting in display at Paris, Peintres de portraits, Galerie Bernheim Jeune, 1952 - nº 41 as the young swedish girl:

young swedish in display at bernheim jeune gallery in 1952




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