Blond  nude seated by  amedeo modigliani
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 296 Nº 279 Nº 267 YES ? Nº 280 YES YES
Date 1918?
Title Seated nude with hands in lap - Seated nude with hands crossed - Seated nude - Seated nude with folded hands - Blond nude seated
Materials Oil on canvas
Size 100.3 x 64.8 cm ?
Signature: Signed "modigliani" top right
Actual Location Honolulu Museum of Arts, Honolulu, Hawaii, USA (Inv. Nº 2895.1)
Provenance -?-
?

Bernheim Jeune Gallery, Paris
?
Private Collection, Paris
Helen Hughes Richards Collection
Carter Galt Collection, Honolulu (? to 1960)

Honolulu Museum of Arts, Honolulu, Hawaii, USA (Inv. Nº 2895.1)
Gift by Carter Galt in 1960 (or 1974?)

In process

Bibliography -?-
?
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1935-XIV, pl. 24 at Bernheim Jeune
Descargues, Amedeo Modigliani, Braun, Paris, 1954, pl. 53
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 296 - title Seated nude- dated 1918 - as unknown collection
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 267 - title Seated nude with folded handsBust of Hanka with tree on back - dated 1918 - as lost
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 279 - title Blond nude seated - dated 1918
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972- nº 267 - title Seated nude with folded hands - dated 1918 - as lost
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 280 - title Seated nude with hands in lap - dated 1918
Monti a cura de R. Chiappini, Catalogue Amedeo Modigliani, Lugano, Skira, 1999 - nº 53 (catlogue of paintings by Decrooq)
Wayne, Modigliani & the Artists of Montparnasse, Abrams-Albright-knox gallery, New York, 2002 - nº 30, p. 107 - title Seated nude with folded hands - dated 1918
Fraquelli, Modigliani, Fort Worth and Paris, in Burlington Magazine, nº 145, 2003, pp. 254-255
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007

In process

Exhibitions -?-
?

Tokyo, Exposition Amedeo Modigliani au Japon, Tobu Museum of Art, 1992-93 - nº 35
Kyoto, Exposition Amedeo Modigliani au Japon, Daimaru Museum, 1992-93 - nº 35
Osaka, Exposition Amedeo Modigliani au Japon, Daimaru Museum of Umeda, 1992-93 - nº 35
Ibaraki, Exposition Amedeo Modigliani au Japon, Museum of Modern Art, 1992-93 - nº 35
Lugano, Amedeo Modigliani, Museo d'Arte Moderna, 1999 - nº 53
Buffalo NY, Modigliani and the artists of Montparnasse, Albright-Knox Gallery, 2002-2003 - nº 30
Fort Worth, Modigliani and the artists of Montparnasse, Kimbell art Museum, 2002-2003 - nº 30
Los Angeles, Modigliani and the artists of Montparnasse, Los Angeles County Museum of Art, 2002-2003 - nº 30

In process

Other
Not in D' Atri papers ?

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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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This painting was cleaned during the last years of the past century loosing much of the original colors as can be seen in this images from the before & after.
Large lines has been washed away and almost vanished, all the colors has lost the original vigority, as example lines under the right breast are actually almost invisible.

cleaning

Old image with the original colors:

blond nude - original colors

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This painting is very similar to another painting actually dated in 1918, probably the same model and almost the same painting treatment:

Standing nude amedeo modigliani

Probably with a good cleaning the greens would become blues like in the upper work, but the overcleaning made the blues become grey
(varnish oxidation adds a yellow layer on top of the colors and when you have a blue background with a yellow layer on top it becomes green)
Like in this painting with almost exactly the same position:
The young milkmaid amedeo modigliani- Seated Nude with Folded Hands amedeo modigliani


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