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1911

27 years
This year is dedicated to sculpture, he works ferociously at his Cite Falguiere studio on his Caryatides, which he had been sketching until perfection during the previous year (he works mainly in a limestone known as "pierre d'euvilie" and a few in wood).

There is a sale, one to the painter Edward Roworth for 5 pounds.

The relationship with Anna Akhmatova becomes stronger when she returns to Paris and they are commonly seen together.

In March, Modigliani has the opportunity to exhibit his work at de Souza Cardoso studio (a sculptor that was in the same circle)--the results: no sales.

In September he travels with his aunt Laure Garsin to a town called Yport (near Normandy.)  It is not clear who paid the expenses, but it was useful to recover some health and to cool the relation with Akhmatova, which ends during the last months of the year.
Souza Cardoso
Image source: LINK
Akhmatova later in 1924 Source: LINK

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1912

28 years

Sculpture is the center, he almost quits painting.
Again in contact with Lipchitz and Epstein.
This year is probably the worst in terms of cold, hunger and lack of money.

His financial help that once came from his mother now changes to his brother and the income is less and less.

His health got worse and that plus cold and dust in his lungs made him return to Livorno to recover.

Exhibits seven sculptures in the salon d' Automne, surrounded by the biggest names of the Cubist movement.

Lipchitz, who will become a figure in his life from now on, recalls seeing him working on the outside of the Cite Falguiere studio surrounded by at least 5 heads other than the one exposed at the Salon (that means at least 12 done).

His relation with Jacob increases and he will be an important figure in Modi's future.

Changes studio again to Montmartre and then to Boulevard Raspail where his friends will find him frozen and near starvation so they encourage him to visit his mother in Italy to rest and recover.


4 heads by Modigliani in the Cubist hall, Salon d' Automne, Oct. 1912 / l'illustration. Image source: LINK




2 works by Modigliani in an article in "La Comedie Illustre", October 1912. Image source: LINK


No matter how good the critiques were, how inside the art world the artist was, or how many publications he got, this was the worst year of poverty.

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1913

29 years

The beginning of the year saw him rejoin his old friends from earlier times: Foujita, Kisling, Utrillo, Zadkine, Rivera, etc.

The English painter Augustus John visits Modigliani and buys 2 sculptures, the payment allows Modigliani to travel and rest in Italy.

Previous to his trip to Livorno he stored all his sculptures and artworks with Alexandre.

In April arrives in Livorno, recovery of health and re-starts sculpting but now in marble.

There is a myth that later developed into the Livorno Joke that he threw the production of those months into the canal in Livorno. (the only sure thing is that there is not a single marble left...)

In June, returns to Paris and stays at a new studio at 216, Boulevard Raspail, working on the Caryatides.

A merchant named Cheron decided to lock him up with a model, oils, canvases and a bottle of wine, the idea ended in a total break up with Cheron.

A new patron will appear in his life, Paul Guilliaume. an art dealer specialized in tribal African art.

Guilliaume was fast, and during the first days of the following year Modigliani would be under his protection.

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1914

30 years
He ends direct sculpting--serious health problems because of the dust--so devotes himself only to painting.

He asks his mother to quit sending money because he can now  live from his paintings (a proud statement, he was on the verge of starvation.)

Involved in some sort of relationship with a famous model, writer and artist known as "the queen of bohemia" (Nina Hamnett, 1890-1956).

Some art historians say that he suffered strongly for having quit sculpture, but probably it was easy to return to painting, he made new efforts, had a much more developed art and a new perspective on his work.

From this moment his painting will be much more than in his previous work the creation of a sculptor who paints.

The relation between mass and empty space acquires a quality never previously seen in his work, he incorporates some of the tendencies of the moment such as Cubism, Futurism.  They can be traced in part in his new paintings, but the paintings are in his own style and format, in the range of Tuscan perfection, classical composition and proportions.

In May/June Modigliani exhibits at "Twentieth Century Art" at the Whitechapel Gallery in London.
In June/July meets the eccentric English journalist, Beatrice Hastings (1879-1943).

Beatrice Hastings

Present day image of the gallery

Whitechapel exhibition catalogue.
They have a stormy love affair that lasts over two years: a period where she will be the favorite model for his portraits (at least 10 verified oils and a large number of drawings).

When the war breaks out (August) Modigliani is exempted from military service for health reasons.
Paul Alexandre is drafted, ending all contact between them.
Alexandre's relation with Modigliani ends with the war so his collection is limited to 1913, more than 400 drawings and at least 10 oils, many of the drawings will remain unknown until 1990.  (Later, after the death of the artist, he will buy other works.  His collection has been used by historians in their personal fights...).

For the rest of his life Modigliani will devote himself almost exclusively to portraits.

For the first time, things seem to be going in the right direction and in a way to achieve the recognition he deserves.
Some Hastings portraits by Modigliani

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