Jeanne Hébuterne profile by amedeo modigliani
Image Courtesy of the Yale University Art Gallery
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
NO Nº 333 Nº 224 YES 9/1918 Nº 234 YES YES
Date 1918 ?
Title Jeanne Hébuterne in profile- Head of Jeanne Hébuterne - Head of Jeanne - Young girl in profile - Jeanne Hébuterne - Mme. Modigliani with long hair - Young woman
Materials Oil on canvas
Size 45.7 x 28 cm
Signature: Signed "modigliani" top right
Actual Location Yale University Art Gallery, New Haven, Connecticut, USA (Inv. Nº 1948.123)
Provenance -?-

Leopold Zborowski., Paris
Bing et Cie, Paris (1929)
Cornelius J. Sullivan Collection, New York;
Kate Lancaster Brewster Collection (1935 to 1948)

Yale University Art Gallery, New Haven, Connecticutt, USA (Inv. Nº 1948.123)
Bequest of Kate L. Brewster in 1948


In process

Bibliography -?-

Ceroni, Amedeo Modigliani : dessins et sculptures ; avec suite du catalogue illustre des peintures, Edizioni del Milione, Milano, 1965 - nº 216
Forster-Hahn, French and School of Paris Paintings in the Yale University Art Gallery, Yale University Press, 1968
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 333 - title Tete de jeune fille de profil - dated 1918
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 238 - dated 1918 - nº 224 - title Head of Jeanne Hébuterne in profile- dated 1918
Diehl, Modigliani, Ed. Flamarion, Paris, 1977, p. 77
Diehl, Modigliani, Crown Publishers, New York, 1989
Orion Press, Tokyo, 1989 - nº 65
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990, p. 123 - nº 72
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 234 - as Jeanne Hébuterne in profile - dated 1918
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 9/1918 as Portrait de Jeanne Hébuterne in profile
Wayne, Modigliani & the Artists of Montparnasse, Abrams-Albright-knox gallery, New York, 2002, p. 71
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005
Restellini, La Collection Jonas Netter, Pinacotheque de Paris, 2012, mention in p. 336
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Ireson, Fraquelli, Modigliani, London, Tate Modern, Skira Rizzoli, London, 2017, p. 181
Bezur, Campos, Centeno, Duvernois, Josenhans, Londero, Gonçalves, Rizzuto, Schwarz, The Modigliani Technical Research Styudy, Modigliani’s late portraits, The burlington Magazine, London, May 2018, p. 401 -404

In process

Exhibitions -?-

Paris, Modigliani, Galerie Bing et Cie, 1925 - nº 9
Boston. Modigliani: Paintings and Drawings. Exh. cat., Museum of Fine Arts, 1961 - nº 31 as Mme. Modigliani with long hair
Los Angeles. Modigliani: Paintings and Drawings. Exh. cat., Los Angeles County Museum, 1961 - nº 31 as Mme. Modigliani with long hair
Tokyo ,Love and Nostalgia for Montparnasse, Daimaru, 1979 - nº 20
Osaka,Love and Nostalgia for Montparnasse , Daimaru, 1979 - nº 20
Liege, Modigliani exhibition. Musée Saint Georges, 1980 - nº 17
Tokyo, Modigliani exhibition, National Museum, 1985 - nº 110
Nagoya, Modigliani exhibition, Aichi Prefectural Art Gallery, 1985 - nº 110
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 63
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº 63
London, Modigliani, Tate Modern, 2017-2018

In process

Not in D' Atri papers?


This painting presents holes in the 4 corners


Detail of signature in visible normal light:



The painting framed a London, Modigliani, Tate Gallery, 2017:

The painting framed a London, Modigliani, Tate Gallery, 2017


There are 3 paintings very similar in size and composition

Jeanne Hébuterne half turned to the right amedeo modiglianiJeanne Hébuterne looking front amedeo modiglianiJeanne Hébuterne in profile amedeo modigliani


The painting was fully analyzed during the The Modigliani Technical Research Study, Modigliani’s late portraits, The Burlington Magazine, London, May 2018 with the
companion of the other similar composition and the results showed various corrections, the holes in the canvas, the paining method and the presence of pigments concordant
with the known Modigliani Palette.

Jeanne Hébuterne looking front amedeo modiglianiJeanne Hébuterne in profile amedeo modigliani

In resume the main identified colors/pigments in both portraits are:

1.- Lead White
2.- Zinc white
3.- Chrome orange
4.- Ochre (Brown Ochre / Yellow Ochre)
5.- Vermilion
6.- Bone black
7.- Cadmium yellow
8.- Calcite

This does not means that a painting has to present the 8/10 pigments, it was his palette at that time in 1918.
(the Zinc white for instance is only found in the preparation layer and the Ochers also the Calcite in the support)

General Museum technical studies have reached the conclusion that is a very short palette, a simple range made with pre industrial oils (non artisan, but small scale industrial oils).


This is exactly the opposite to the opinion presented by Marc Restellini "as private expert" who in a private dossier presented the next conclusions:

Extract of one of his private dossier:

pigments on the opinion of Restellini

What we can simply point out at the moment is that Modigliani's palette of authentic works rarely consists of less than 10 to 12 pigments, as shown in the following list of works that we have
had the opportunity of analyze over the last 20 years as part of the Wildenstein Institute and Restellini Institute.

The works he present are the next:
pigments presented by restellini

He says the number of pigments, but do not identify them with names, he is the only person enough of trust as to have that information and he wants to keep it
that way to avoid dirty criminals to use it to create forgeries, he is the only expert who shall ever have this information.

This is important because the upper statement was presented to the Police requesting the immediate destruction of a work and the arrest of the owners and experts
who expertized it and using the same words that Marc Restellini sent in a letter to the Swiss prosecutor "give example to criminals".

(yes I am one of those nasty people he asked to be used as example...)

in Geneva, and who curiously, what a nice coincidence was also the purported buyer for the work.

If his statement about the pigments is true, all the analyzed nudes of Modigliani and almost all the paintings analyzed in the "Burlington research (done by the most reputed experts of the most
reputed museums all over the world) would become a "RARELY" exception or crude forgeries.

I would love to know the innovative and state of the art techniques he has developed in his own private laboratory at the Geneva Freeport to be able to detect what the main museums &
the most advanced labs across the world has not been able to find.

What an envy to have your own laboratory to assure your work.


So in his conclusions, this 2 portraits must be false (of course I don't agree I consider it a stupid idea)
Jeanne Hébuterne looking front amedeo modiglianiJeanne Hébuterne in profile amedeo modigliani

Both paintings only present 7 to 8 pigments (so using Restellini's words: "Modigliani's palette of authentic works rarely consists of less than 10 to 12 pigments"

For this work he say he has detected 12:
Jeanne Hébuterne half turned to the right amedeo modigliani
(This means in his words that this is original and the rest fakes or exceptions? then why did he published the others as original? they must be exceptions???, I'm full of doubts)

Or maybe the "Burlington technical research study is wrong (they don't have his 20 years knowledge and his cute Lab at the Geneva Freeport) and he is correct.

This part of the "Burlington technical research study was made by:

Aniko Bezur, - Wallace S. Wilson Director of Scientific Research of the Technical Studies Laboratory at the Yale Institute for the Preservation of Cultural Heritage.
Pedro H. O. V. de Campos - University of São Paulo | USP · Department of Nuclear Physics (FNC)
Silvia A. Centeno - Research Scientist Metropolitan Museum of Art, New York
Isabelle Duvernois - Conservator at The Metropolitan Museum of Art
Frauke V. Josenhans - Associate Curator and Lecturer at Rice University
Pablo Londero - Conservation Scientist at the Yale Institute for the Preservation of Cultural Heritage.
Ana Gonçalves Magalhães - Curator at the Museum of Contemporary Art of the University of São Paulo
Marcia de Almeida Rizzutto - University of São Paulo Physics Institute, Nuclear Physics Department
Cynthia Schwarz - Yale University Art Gallery Associate Conservator of Paintings

So the thing is:

Restellini investigation at the Geneva Freeport against Yale University / University of São Paulo / NY Metropolitan Museum of Art / Rice University
I'm full of doubts.

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