Boy in a striped sweater by  amedeo modigliani
Image Courtesy of the Metropolitan Museum of Art
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 305 Nº 316 Nº 215 YES ? Nº 221 ? ?
Date 1918? (Ceroni, Patani 1917 - Pfannstiel, Lanthemann, MET museum in 1918)
Title Boy in a striped sweater - Le chandail rayé - le chandail rose - Boy in blue - Seated boy with a sailor shirt - Boy in a Striped Vest
Materials Oil on canvas
Size 91.4 x 54.6 cm
Signature: Signed "modigliani . " top right
Actual Location Metropolitan Museum of Art, New York, USA (Inv. Nº 1999.363.56)
Provenance -?-
?

Paul Guillaume, Paris (Inv. nº 750 by 1931-34
Private Collection, Paris (1950)
Salz Collection, New York (until 1952, sold to Gelman for 27.000 USD)
Jacques and Natasha Gelman Collection, Mexico city (1952 to 1998)
Natasha Gelman, New York

(sold with all the European collection of the Gelman Marriage to the MET for 1.00 USD as symbolic price)

Metropolitan Museum of Art, New York, USA (Inv. Nº 1999.363.56)
Bequest by Natasha Gelman to MMA in 1998

In process

Bibliography -?-
?
Magazine advertisement - Formes no. 14 - April 1931 - advertisement for Galerie Paul Guillaume, Paris as "Youth with a Striped Jersey"
Maud Dale. "Modigliani." Formes no. 18 (October 1931), ill. between pp. 122 and 123, as "Le Chandail rose (The Pink Sweater)" in the Paul Guillaume collection
Basler, Modigliani. Editions G. Cres, Paris, 1931, pl. 22 as "Le Chandail à rayures" 1917, in the collection of Paul Guillaume
Magazine - "Demotte Holds Modigliani Show." Art News 30 (November 7, 1931), p. 13
Magazine - Bouyer. "A travers les expositions du mois." Le Bulletin de l'art ancien et moderne no. 780 (July–August 1931), ill. p. 319, as "Jeune garçon" exhibited at the Galerie Marcel Bernheim 1931
Magazine - Les Arts à Paris: Actualités critiques et littéraires des arts et de la curiosité no. 18 (July 18, 1931), ill. p. 38, as "Le chandail rose" in the collection of Paul Guillaume
Kunst und Kunstler, Modigliani, Bruno Cassirer, Berlin, 1932, p. 209
S.B., Modigliani : Ausstellung in der Kunsthalle Basel, Architektur und Kunst, 1934, p. 62
Franchi. Modigliani. Florence, 1946, pl. XI, as "La maglietta rosa (Le chandail rose; The Rose Vest)," 1917; locates it still in the collection of Paul Guillaume
Franchi, Modigliani, Arnaud, Firenze, 1947, pl. 11
Lassaigne in History of Modern Painting. Vol. 3, From Picasso to Surrealism. Geneva, 1950, ill. p. 33 (color), as "Boy with a Pink Shirt," 1917, in a private collection, Paris
San Lazzaro. Modigliani. Paris, 1953, fig. 39, as "Jeune homme au chandail".
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 305 - title The pink sweater - dated 1918
San Lazzaro, Modigliani-Portraits, Hazan, Paris, 1957, p. 15 - title The boy in blue - dated 1917
Roy , Modigliani, Skira, Lausanne, 1958
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 316 - title Seated boy (sailor's shirt) - dated 1918
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 215 - title Boy in a striped sweater - dated 1917
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 215 - title Boy in a striped sweater - dated 1917
Zurcher, Modigliani, Ed. F. Hazan, Paris, 1980 p. 30, pl. 33 - dated 1917
Roy, Modigliani, Nathan, Paris, 1985. p. 81 - title Boy in a striped sweater - dated 1917
Rewald, Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat., The Metropolitan Museum of Art. New York, 1989, pp. 148–50, 309
Lieberman, Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat., The Metropolitan Museum of Art. New York, 1989, p. 14, fig. 3
Diehl, Modigliani, Crown Publishers, New York, 1989, p. 81 - title Boy in a striped vest- dated 1917
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 221 - title Boy in a striped sweater - dated 1917
de Wavrin. "L'Œil infaillible de Jacques Gelman." Beaux Arts no. 125, 1994, p. 47.
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007



In process

Exhibitions -?-
?

Paris, Modigliani retrospective, Marcel Bernheim (Galerie Bernheim-Jeune), 1931 - nº 12 - title Jeune Homme -dated 1917
New York, Amedeo Modigliani: Retrospective Exhibition of Paintings, Demotte, Inc., 1931 - nº  7 as Le Chandail rose - dated 1917, lent by Paul Guillaume
Brussels, Modigliani: Retrospective Exhibition. Palais des beaux-arts, 1933 - nº 47
Basel, Amedeo Modigliani, Kunsthalle, 1934 - nº 39
New York, Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection, The Metropolitan Museum of Art. 1989-1990
London, Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection, Royal Academy of Arts, 1990
Mexico City, La Colección de Pintura Mexicana de Jacques y Natasha Gelman, Centro Cultural Arte Contemporáneo, 1992
Martigny, De Matisse à Picasso: Collection Jacques et Natasha Gelman, Fondation Pierre Gianadda, 1994

In process

Other
Nº 47 in D' Atri papers -as Le Chandail Rose (Raye) - dated 1918 - 91 x 54 - Provenance in Paul Guillaume

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The title "le chandail Rose" comes from a mistake in a catalogue ?

S. Rewald in Twentieth-Century Modern Masters: The Jacques and Natasha Gelman Collection. Ed. William S. Lieberman. Exh. cat., The Metropolitan Museum of Art. New York, 1989, pp. 148–50, 309
notes that the sitter's clothing resembles a restaurant or hotel busboy's uniform, adding that from March 1918 to May 1919 while living in the south of France, Modigliani often "employed local young servants"
as his models [Kathleen Brunner's chronology in "Modigliani and His Models," Royal Academy of Arts, London, 2006, p. 147, dates Modigliani's stay in Nice and Cagnes from April 1918 to May 1919.].

I personally bet for a rich boy, he seems to be very comfortable and sure in the painting

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This is the first painting I remeber to have ever seen by Modigliani, my father took me to visit the Gelman's home in Mexico city as a boy and I had the opportunity
to seat in fron of this wonderful painting for some hours.

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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 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...

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The painting framed at the Metropolitan Museum of Art in 2018:

The painting framed at the Metropolitan Museum of Art in 2018




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