Beatrice Hastings Head by Amedeo Modigliani
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
NO Nº 96 Nº 78 YES 23/1915 Nº 79 YES ?
Date 1915 ?
Title Beatrice Hastings
Materials Oil on cardboard (Restellini: oil on carton maroufle over wood - Parisot, Ceroni: oil on paper)
Size 43 x 35 cm (Parisot 35 x 27 - Restellini in 1999: 35 x 27 - in 2002: 35 x 26.5 - Exhib. 1958 33 x 25)
Signature: "modigliani" top right and unreadable text in low right
Actual Location Museo del Novecento, Milano, Italia (Inv. Nº 8744)
Provenance
  • -?-

    ?
    Sale: Drouot, Paris 20 / June / 1941 — Sold for 4.000 FF
    (Provenance is not clear since this is probably a work that changed hands during the war LINK)
    ?
    Jucker Collection, Milano (after 1940-41)
    Museo d'arte contemporanea Coll. Jucker. Milano
    Museo del Novecento, Milano, Italia (Inv. Nº 8744)

    in process

Bibliography -?-

Exh. Cat. Associazione fra gli amatori e i cultori delle arti figurative contemporanee, Milano, 1946, pl. 3
Carli, Amedeo Modigliani, De Luca, Roma 1952, nº 2
Russoli, Amedeo Modigliani, Exhib. catalogue Palazzo Reale, Edizioni dell'ente manifestazioni Milanesi, Milano, 1958, pl. 11
Ceroni, Amedeo Modigliani : dessins et sculptures ; avec suite du catalogue illustre des peintures, Edizioni del Milione, Milano, 1965 p. 166
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 96
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 78
Musée de Art Moderne de la Ville de Paris, Modigliani exib. cat., 1981, p. 114 (Oil on cardboard - wrong size 35 x 27)
Roy, Modigliani, Nathan, Paris, 1985, p. 36
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 nº 23/1915
Patani, Catalogo Generale, Leonardo, Milano, 1991-94, nº 79
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. 196-197 (incorrect size 35 x 26.5 cm)
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007

in process

Exhibitions -?-

Milano, Associazione fra gli amatori e i cultori delle arti figurative contemporanee, 1946 - nº 3 (size 35 x 27)
Milano, Borromini Gallery, 1947
Roma, Modigliani, IV Quadriennale, Palazzo delle Esposizioni, 1951-1952
Paris, Cent Tableaux de Modigliani, Galerie Charpentier, 1958 - nº 21
Marseille, Musée Cantini, 1958 - nº 4
Milano, Mostra di Amedeo Modigliani, Palazzo Reale, Curated by Franco Russoli, 1958- nº 11
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981, nº 23
Lugano, Amedeo Modigliani, Museo d'Arte Moderna, 1999, nº 16
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002- nº 28
Milano, Modigliani: l'ange au visage grave, Palazzo Reale, 2003 - nº 23
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 ears 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 ears are 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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I have no information of restorations or cleaning of the work, but looking at old pictures is curious to see how the green area vanishes with time in pictures (the most actual & real image is up):
changes of color in the images of the painting across time

In lower right there is another signature or dating almost invisible to regular eye, only readable using the red channels:
Probably a dedicatory or a dating (12 ???)?

Red Channel
invisible dedicatory
Infrared:


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