boy in short pants
Image courtesy of Dallas Museum of Art
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 170 Nº 370 Nº 255 YES ? Nº 268 ? YES
Date 1918 (the museum circa 1918)
Title Boy in short pants - Garçon au pantalon court - Le garçon en culottes
Materials Oil on canvas
Size 99.69 x 64.77 cm
Signature: Signed "modigliani" top right (double signature?)
Actual Location Dallas Museum of Art, Dallas, USA (Inv. Nº 1977.1)
Provenance -?-
?
Léopold Zborowski, Paris
?
Menier Collection, Paris
?
Sale: Christie's , London, 2. 12. 1975

Acquavella Galleries, New York?

Leland Fikes Collection, Dallas
Leland Fikes Foundation, Inc.

Dallas Museum of Art, Dallas, USA (Inv. Nº 1977.1)
Gift to DMA in 1977

In process

Bibliography -?-

Deutsche Kunst und Dekoration, Gemälde von Modigliani, Verlagsanstalt Alexander Koch, XXVIII - July 1925, p. 207
George, Modigliani, lamour de lart, Paris, 1925
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 27
Franchi, Modigliani, Arnaud, Firenze, 1946, pl. 23
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 170 (size wrong 92 x 60, dated 1917)
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 -nº 370 (dates in 1919)
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 255 (dated in 1918)
Wayne, Modigliani & the Artists of Montparnasse, Abrams-Albright-knox gallery, New York, 2002 - nº 25, p. 102(dated 1918)
Fraquelli, Modigliani, Fort Worth and Paris, in Burlington Magazine, nº 145, 2003, pp. 254-255.
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005 , p. 144, pl. 60
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007

In process

Exhibitions -?-
?
Dallas, Dallas Collects: Impressionist and Early Modern Masters: An Exhibition Celebrating the Seventy-Fifth Anniversary of the Dallas Museum of Fine Arts, 1978, p. 51 - nº 88
Buffalo NY, Modigliani and the artists of Montparnasse, Albright-Knox Gallery, 2002-2003 - nº 25
Fort Worth, Modigliani and the artists of Montparnasse, Kimbell art Museum, 2002-2003 - nº 25
Los Angeles, Modigliani and the artists of Montparnasse, Los Angeles County Museum of Art, 2002-2003 - nº 25
New York, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005 - nº 60
Toronto, Modigliani: Beyond the Myth, The Art Gallery of Ontario, 2004 - 2005
Washington D.C., Modigliani: Beyond the Myth, The Phillips Collection, 2005
Villeneuve d'Ascq, L'oeil intérieur, LaM. Lille Métropole musée d'art moderne, 2016
Helsinki, Modigliani, Ateneum , 2016-2017
London, Modigliani, Tate Gallery, 2017

In process

Other
Not in D' Atri papers

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The painting presents holes in 4 corners

holes

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the signature of this work could be absolutely compromised under the aspect of the classic historian, a serious graphological analysis would say that it does
not present the slightest doubt about its author comparing it with other similar firms, but under the prism of a connosieur it would be immediately labeled as false.

The signature has a double line, there are two signatures or that is what it might seem at first, surely it is a hair of the brush that was out of position or for those who
do not like this explanation, the artist decided to review his signature?

The signature of the painting is absolutely anomalous, it is made in black oil and the "m" is made in 2 traces, the "o" is closed, the "d" is open, "igliani" is in a continuous line.
The "g" makes a lower body nos compensated. The linearity of the signature is complete in design, but of course this does not means nothing, only old fashion art historians/connosieurs
would dare to say it's fake based on that stupid and pointless dissertation, a total nonsense.

Signatures in Modigliani have no rules and to say that there are is like saying he signed with a stamp...

signature

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Modigliani's brushwork is present in all its typical manifestations, sometimes
where it is expected and others in strange places but there is no doubt that all
his tricks with the brush can be seen throughout the painting.

Detail of the brushwork:
brushwork detail

brushwork detail


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the nose and eyes of this work are an absolute mystery, on the one hand they would be totally classic within the production of 1918-19 but the combination of
shadow with color and shadow with black and the general configuration of the eyes takes us more to works later in time, it is most likely that the artist decided to
make use of a random type of painting, one sees its evolution but also its history, on the one hand they can be considered anachronistic in their evolution but
they are absolutely Modigliani in their general configuration.


eyes and nose

Detail of the hands that are absolutely coincident with the works of his final period.
hands


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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.

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Exactly the opposite to this case, the ears are full in details, as detailed as the eyes and even more than the hair.

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The painting framed at Dallas in 2018:

:The painting framed at Dallas in 2018

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In the back of the head we can see what seems to be a black cloth that could perfectly be the final loose part of a bow that could lead one to think that it is not a portrait of a boy,
rather of a girl, but no expert has mentioned it and in the oldest publication in 1925 the painting is already mentioned as a portrait of a young boy.


bow


If we continued the loop as if the head were transparent and based on the Italian woman or paintings with the same element would be more or less like this:

bow

This would be totally coincident with the black shadow that can be seen to the left of the head
and the black line that seems to disagree with the rest on the upper right side of the head.

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The painting presents some of the typical and classic examples or tricks of the handling of oil by Modigliani, like the dislocated hair to the
right of the head , something absolutely classic in Modigliani and his way of pushing the figure the viewer.

Hair dislocated:

hair dislocated

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Detail of the back of the canvas - courtesy of DMA:

back of the canvas

In the upper left side we can find the export stamps used by the Paris customs:

custom stamps

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Based on the high resolution picture there is a complete set of fingerprints in the upper right with at least 4 fingers? - courtesy of DMA:

fingerprints






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