WOMAN BUST BY AMEDEO MODIGLIANI
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 84 Nº 60 Nº 92 YES 6/1915 Nº 95 YES ?
Date 1915 - 1917? (Parisot dates in 1917 in the 1983 exhibit)
Title Young woman head / Beatrice Hastings head
Materials Oil on canvas
Size 46 x 38 cm
Signature: Signed "modigliani " bottom right
Actual Location Pinacoteca di Brera, Milano, Italia ( Inv. Nº 5081)
Provenance
  • -?-

    Guillaume Coll. Paris
    Keller Collection, Paris (1929 - 1930)
    Galleria Il Milione, Milano (1930-1940?)
    La Lanterna Galleria, Milano (1940 -1946)
    Jesi Collection, Milano (1946-1976)

    Pinacoteca di Brera, Milano, Italia ( Inv. Nº 5081)
    Donation by Emilio and Maria Jesi to the Museum in 1976

    in process

Bibliography -?-

Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929
Exh. Cat. Associazione fra gli amatori e i cultori delle arti figurative contemporanee, Milano, 1946, pl. 7
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956, nº 84
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 47
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 58
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 92
Valsecchi, Arte Moderna a Milano, Ed. Cariplo, Milano, 1976, p. 116
Modigliani J. Racconta Modigliani, Ed. Graphis. 1984 p. 229
Parisot, Modigliani, Ed. Graphis Arte, 1988, p. 149
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 nº 6/1915
Patani, Catalogo Generale, Leonardo, Milano, 1991-94, nº 95
Monti a cura de R. Chiappini, Catalogue Amedeo Modigliani, Lugano, Skira, 1999
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, pp. 182-183
Parisot, Modigliani la vita le opere, Ed. Carte Secrete, Milano 2006
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Marini, Modigliani , Skira, France, 2008 - nº 16, p. 50

in process

Exhibitions -?-

Milano, Associazione fra gli amatori e i cultori delle arti figurative contemporanee, 1946 - nº 7 (dated 1916-17)
Bruxelles, Modigliani. Palais des beaux-arts, 1950 - nº 66
Amsterdam, Modigliani, Stedelijk Museum, 1950
Paris, Cent Tableaux de Modigliani, Galerie Charpentier, 1958 - n º 45 (?)
Marseille, Modigliani, Musée Cantini, 1958 - nº 31 (dated 1918)
Milano, Mostra di Amedeo Modigliani, Curated by Franco Russoli, 1958 - nº 26
Frankfurt, Steinernes Haus, 1963 - nº 14
Edinburgh, Modigliani, Royal Scottish Academy, 1963 - nº 12
London, Modigliani, Tate Gallery, 1963 - nº 12
Barcelona, Modigliani, Centro Cultural de la Caixa de pensiones,Curated by Christian Parisot, 1983 - nº 26
Madrid, Modigliani, Sala de exposiciones la caja de pensiones, Curated by Christian Parisot, 1983 - nº 26
Lugano, Amedeo Modigliani, Museo d'Arte Moderna, 1999 - nº 18
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002- nº 21
Genova, Modigliani, Palazzo Duccale, 2017

in process

Other
Not in D' Atri papers ?

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Signature:

signature

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Detail of the ear where the drawing is clearly visible and is painted in 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 even if just a part is full in details, as detailed as the eyes or the hair...

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This painting presents holes in the 4 corners (2 of them covered by restoration)

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This painting was present at the Genova Exhibit of the forgery scandal in 2017and was damaged in the press exhibited as a fake.

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Image of the painting at the usual location in Pinacoteca di Brera in 2017:

image of the painting at pinacoteca di brera in milano in 2017
  This page is a work on progress, nothing in this page should be considered as final or definitive.