secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| NO ? | Nº 282 | Nº 236 | YES | 30/1918 | Nº 248 | ? | YES |
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André Lefèvre Collection, Paris
Musée National d' Art Moderne, Centre Georges Pompidou, Paris, France (Inv. Nº AM3974P)
Gift M. & Mme. Lefèvre in 1952
In process
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Jaffé, La pittura del XX secolo, Mondadori, Milano, 1963 - nº 23
Dorival, La donation A. Lefevre au Musée d'Art Moderne, Revue du Louvre, 1964, p. 26
Ceroni, Amedeo Modigliani : dessins et sculptures ; avec suite du catalogue illustre des peintures, Edizioni del Milione, Milano, 1965 - nº 214
Ponente, Modigliani, Ed. Toray, Barcelona, 1969 - nº 58
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 259
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 282
Nakayama, 1974 - nº 24
Yasuoka, 1977, pl. 53
Zurcher, Modigliani, Ed. F. Hazan, Paris, 1980, pl. 57
Musée de Art Moderne de la Ville de Paris, Modigliani exib. cat., 1981 - nº 97, p. 168 (dated 1918)
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 203
Orion Press, Tokyo, 1989 - nº 47
Hulten/Celant, Arte Italiana Presenze 1900-1945, Bompiani, Milano, 1989, p. 353
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 248 (dated 1918)
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 30/1918
Parisot, Modigliani, Pierre Terrail, Paris, 1992, p. 2
Wayne, Modigliani & the Artists of Montparnasse, Abrams-Albright-knox gallery, New York, 2002, p. 112 - nº 35 (dated circa 1918)
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
In process
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Paris, 1964 - nº 23
Washington, 1968
Boston, 1968
Leningrad - nº 26
Moscow, 1979 - nº 26
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981 - nº 97
Tokyo, Modigliani exhibition, National Museum, 1985 - nº 97
Nagoya, Modigliani exhibition, Aichi Prefectural Art Gallery, 1985 - nº 97
Venezia, Arte Italiana, Palazzo Grassi, 1989
Buffalo NY, Modigliani and the artists of Montparnasse, Albright-Knox Gallery, 2002-2003 - nº 35
Fort Worth, Modigliani and the artists of Montparnasse, Kimbell art Museum, 2003 - nº 35
Los Angeles, Modigliani and the artists of Montparnasse, Los Angeles County Museum of Art, 2003 - nº 35
Moscow, Meeting Modigliani, Pushkin State Museum of Fine Arts, 2007
Madrid, Modigliani y su tiempo, Museo Nacional Thyssen Bornemisza, 2008
Bonn, Amedeo Modigliani: Ein Mythos der Moderne, Bundesrepublik, 2009 - nº 98
Moscow, The School of Paris, Pushkin Museum, 2011
Pisa, Amedeo Modigliani et ses amis, BLU | Palazzo d’arte e cultura, 2014- 2015
Torino, Modigliani e la Bohème di Parigi, Galleria d’Arte Moderna, 2015
Oklahoma, Matisse in His Times Masterworks of Modernism from the Centre Pompidou, Oklahoma city art Museum, 2016
In process
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Not in D' Atri papers
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This painting presents holes in 2 corners
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Detail of signature in visible normal light:
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The eyes of this painting are absolutely classic in terms of drawing to the work of modigliani from 1916-17, the presence of black for shading, takes us to the works of the
period 1915-1917, on 1918 usually the shading is made with color degradation, but in this case he makes use of contrast color.
The stippling visible on the body of the nasal septum is classic of the Modigliani game with the brush.
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Detail of the zig zag brushstrokes next to the edge, the figure in the background mixing white, green and black to create a sensation of movement in a neutral zone.
Detail of brush strokes in green on the window painted white background, quick and aggressive brush strokes that give depth in a simple and masterful way.
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Detail of the brushstroke that shows the use of a large amount of pictorial material to reflect part of the chair and the dress,
Modigliani in the period of 1916 - 1918 plays a lot with the different depths of the pictorial matter, in the same painting we can
find solid blocks of thick paint and areas of fluid and almost transparent paint:
In this image of basic infrared, you can see the different brushstrokes present in the work, Modigliani used to make a continuous
use of the same type of brushstrokes, but that does not mean that we always have to find the same brushstrokes in the same areas,
they are only his tricks to paint.
As an example, the zigzag brushstrokes to cover large areas such as in this case present in the body of the black skirt of the dress,
can be found next to the edges of the figures on the white background wall with a much smaller size in other works.
To say that he always put the same brushstrokes in the same areas is to simplify the work of the artist who adapts the medium to the
realization, not vice versa.
detail of the skirt in macro:
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Image of the painting framed in 2012 in a classical gilded frame:
Actual frame of the painting in a modern and aseptic black frame:
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There is a very similar painting with the same sitter actually at unknown location:
