Jeanne Hébuterne in white by amedeo modigliani
Image Courtesy of the Barnes Foundation
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
NO? Nº 360 Nº 261 YES 42/1918 - WRONG Nº 274 ? ?
Date 1918 ?
Title Jeanne Hébuterne seated in profile in a white dress - Jeanne Hébuterne in white - Jeanne seated
Materials Oil on canvas
Size 99.7 x 64.8 cm
Signature: Signed "modigliani" bottom right
Actual Location Barnes Foundation, Philadelphia, Pennsylvania, USA (Inv. Nº BF422)
Provenance -?-
?

Leopold Zborowski., Paris
?
Paul Guillaume, Paris
Sold by Guillaume to Alfred Barnes in 1922 or 1923(?)

Barnes Foundation, Philadelphia, Pennsylvania, USA (Inv. Nº BF422)

In process

Bibliography -?-
?

Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 116
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 238 - dated 1918 - nº 261 - title Hébuterne seated in profile with white dress - dated 1918
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 360 - title Jeanne Hébuterne seated in profile - dated 1919
Sweeney, Johnson. "The Albert C. Barnes Collection." The Barnes Foundation Journal of the Art Department 3 - nº 2 (Autumn 1972), pl. 16
De Mazia, Violette, "Transferred Values: Part I--Introduction." The Barnes Foundation Journal of the Art Department 9 "- nº 2 (Autumn 1978) , pl. 18
Barnes Foundation, "Transferred Values: Part III." Vistas 1 - nº 2 (Autumn-Winter 1979-1980), pl. 11
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 42/1918 as Portrait de Jeanne Hébuterne, with mistake in the exhibitions, provenance, owners, mixed with the other similar Jeanne Hebuterne (see bellow)
Wattenmaker, Richard J., Distel. Great French Paintings from The Barnes Foundation: Impressionist, Post-Impressionist, and Early Modern. New York, Alfred A. Knopf in association with Lincoln University Press, 1993, 21, fig. 8
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Dolkart, Judith F., Martha Lucy, and Derek Gillman. The Barnes Foundation: Masterworks. New York, Skira Rizzoli, 2012, 296-297, 309, 315


In process

Exhibitions -?-
?
Philadelphia, Catalogue of an Exhibition of Contemporary European Paintings and Sculpture, The Pennsylvania Academy of the Fine Arts, 1923
Since the 20's of past century the painting has never left the Barnes premises.


In process

Other
Not in D' Atri papers

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This painting presents holes in the 4 corners

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Detail of signature in visible normal light:

signature

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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 ear is full in details, as detailed as the eyes or the hair...

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The painting framed in location at the Barnes:

The painting framed in location at the Banes
Image Courtesy of the Barnes Foundation
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There is a very similar painting in size and composition

Jeanne Hébuterne seated in profile with white dress amedeo modigliani- Jeanne Hébuterne seated in profile with dark dress amedeo modigliani

The painting with the black & red dress is the one that Parisot mixed.

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This are the 2 paintings one on top of the other the changes can be easily seen:
This are the 2 paintings one on top of the other the changes can be easily seen


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