girl in blue with red ribbon
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 286 Nº 301 Nº 245 YES 18/1918 Nº 257 YES ?
Date 1918
Title Little Girl in blue - Girl in blue with red ribbon - Girl in blue - Girl standing - Little Girl
Materials Oil on canvas
Size 116 x 73 cm? (in 1958 exhibit size is 117 x 72.5 cm)
Signature: Signed "rodigliani" top right
Actual Location Private Collection ?
Provenance -?-
?

Leopold Zborowski, Paris
Netter Collection, Paris


Bibliography -?-
?

Salmon, Modigliani, sa vie et son oeuvre, Ed. des Quatres Chemins, Paris, 1926, pl. 15
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1927, pl. 11
Scheiwiller, Editions des Chroniques du jour, Paris, 1928, pl. 9
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 47
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1932, pl. 18
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1936-XIV, pl. 20
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milan, 1942, pl. 20
Franchi, Modigliani, Arnaud, Firenze, 1946, pl. 18
Venturi, Pittura Contemporanea, Milan 1948, pl. 150
Cocteau, Modigliani, Hazan, Paris, 1950, pl. 20
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milan, 1950, pl. 20
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 286, dated 1918 - as Girl in blue, standing - Netter Collection
San Lazzaro, Modigliani-Portraits, Hazan, Paris, 1957, pl. 7
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Zurich, 1958, pl. 56
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 98
Russoli, Amedeo Modigliani, Silvana Editoriale d'Arte, Milano, 1958, pl. 29
Werner, Amedeo Modigliani, Garzanti, Milano 1967, p. 118
Werner, Amedeo Modigliani, Cercle d'art, Paris,1968, p. 126
Crespelle. Modigliani, les femmes, les amis, l’oeuvre, Presses de la Cité, Paris, 1969
Geza, Modigliani, Budapest, Corvina Kiadó, 1969, pl. 39
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 301, dated 1918 - as Girl standing
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 245
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 245
Yasuoka, 1977, pl. 49
Hall, Modigliani, Phaidon, Oxford, 1979, pl. 43
Mann, Modigliani, Thames and Hudson, London, 1980, p. 175 - nº 128
Musée de Art Moderne de la Ville de Paris, Modigliani exib. cat., 1981, p. 141 - nº 60
Hall, Modigliani, Phaidon, Oxford, 1984 - nº 43
Roy, Modigliani, Nathan, Paris, 1985, p. 108
Werner, Amedeo Modigliani, Harry N. Abrams, New York, 1985, p. 98 - as Little girl in blue, Private Collection Paris
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 191
Orion Press, Tokyo, 1989 - nº 54
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 257, dated 1918 - as Girl in blue, Private Collection Paris
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 18/1918 - as Girl in blue, Private Collection Paris
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Marini, Modigliani , Skira, France, 2008

In process

Exhibitions -?-
?

Venezia, Mostra retrospettiva di Modigliani – Curated by Lionello Venturi - Biennale di Venezia , Sala XII degli Appels d'Italie, 1930 - nº 10 - as Girl standing
Brussels, Modigliani: Retrospective Exhibition. Palais des beaux-arts, 1933 - nº 55
Basel, Amedeo Modigliani, Kunsthalle, 1934 - nº 47
Paris, Cent Tableaux de Modigliani, Galerie Charpentier, 1958 - nº 62 as Little girl in blue, Private Collection Paris - 117 x 72.5 cm
?
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981 - nº 60
Paris, La Collection Jonas Netter - Modigliani, Soutine et l'Aventure de Montparnasse, Pinacotheque de Paris, 2012
Milano, La Collection Jonas Netter, Palazzo Reale, 2013
St. Petersburg, Modigliani, Soutine and other legends of Montparnasse (the Netter Collection), Curated by Marc Restellini, Fabergé Museum, 2017-18

In process

Other
Nº 55 in D' Atri papers as "petite fille debout en robe bleu" - oil on canvas - size 54.5 x 45.5 - dated 1918 -a large text admiring the painting - Provenance in Netter (in pencil with question marks)

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Detail of signature in visible normal light:
As can be seen in regular inspection, the first body of the "m" is missing and it say "r"odigliani?

signature in visible light

Infra red:
As can be seen in regular inspection, the first body of the "m" is missing and it say "r"odigliani?

signature

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the painting framed at St. Petersburg, Modigliani, Soutine and other legends of Montparnasse (the Netter Collection), Curated by Marc Restellini, Fabergé Museum, 2017-18

the painting framed at St. Petersburg, Modigliani, Soutine and other legends of Montparnasse (the Netter Collection), Curated by Marc Restellini, Fabergé Museum, 2017-18


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The painting a t the Venezia, Mostra retrospettiva di Modigliani – Curated by Lionello Venturi - Biennale di Venezia , Sala XII degli Appels d'Italie, 1930 - nº 10 - as Girl istanding

The painting a t the Venezia, Mostra retrospettiva di Modigliani – Curated by Lionello Venturi - Biennale di Venezia , Sala XII degli Appels d'Italie, 1930 - nº 10 - as Girl istanding


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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 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 line, of course not a straight line, a broken line,
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" well this particular work has been seen by him in all the main exhibitions he has curated
and even in his daily life, so I really can not understand it.

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