caryatid- coffee bean by amedeo modigliani
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 21 Nº 532 Nº 35 YES 2/1913 Nº 39 YES YES
Date 1911-12 ? ( Ceroni , Pfannstiel - 1910, Lanthemann - 1911, Parisot 1913 - Patani 1912-13 - d'Atri 1910)
Title Caryatid bended Knee - the coffee bean - Caryatid
Materials Oil on Canvas
Size 72.9 x 50,1 cm ( Ceroni & Pfannstiel - 73 x 50, Parisot 72.5 x 50, Restellini 75.5 x 50 - d'Atri 73 x 50)
Signature: Unsigned
Actual Location Kunstsammlung Nordrhein-Westfalen, Düsseldorf ( Inv. Nº 0128)
Provenance
  • Acquired to the artist by Paul Alexandre (1929 still in his possesion)
    Galerie Berggruen, Paris
    -?-
    Kunstsammlung Nordrhein-Westfalen, Düsseldorf since 1962

    in process


Bibliography
  • Pfannstiel, catalogue presume, Paris, 1929, page 5
    Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956, nº 21
    Roy , Modigliani, Skira, Lausanne, 1958, p. 48
    F. Russoli, Amedeo Modigliani, Milano, 1958 p. 22
    Ceroni, Edizioni del Milione, 1958, nº 27
    Jeanne Modigliani, Modigliani: Man and Myth, Orion Press, New York, 1958, p. 64-75
    Catalogue Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1968, p. 54
    Werner, Amedeo Modigliani, 1968, p. 42
    Musée de Art Moderne de la Ville de Paris, 1968, p. 42
    Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, Barcelona, 1970, nº 532, dated in 1911
    Ceroni & Piccioni, Il dipinti di Modigliani, Milan. 1972, nº 35
    Musée de Art Moderne de la Ville de Paris, 1981, p. 107, Nº 12
    Parisot, Modigliani, caja de pensiones, ed. Poligrafía, Barcelona, 1983, p. 79, nº 8
    Jeanne Modigliani, Racconta Modigliani, Graphis Arte 1984, page 225
    C. Roy Modigliani, Paris, 1985, p. 49
    C. Roy Modigliani, Paris, 1985, p. 49
    Tokyo, Modigliani, Orion press, 1989, nº 3
    Anna Ceroni, les nus, 1989, p. 44
    Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 Nº 2/1913
    Patani, Catalogo Generale, Leonardo ed. Milano 1991-94, nº 39
    Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, p.148-149, nº 15
    Klein, Modigliani: Beyond the Myth, Jewish Museum, New York, 2004
    Soto Caba, Modigliani, the timeless face, Libsa, 2007
    Restellini, Le silence éternel, Pinacotheque de Paris, 2008, p.29
    Klein, Modigliani unmasked, Jewish Museum, New York, 2018

    in process

Exhibitions Düsseldorf, Kunsthalle, 1963, nº 54
München, 1972, nº 1879
London, Tate Gallery, 1974, nº 2
Liege, Modigliani, Musée Saint Georges, 1980, nº 2
Barcelona, Modigliani, Centro Cultural de la Caixa de pensiones,Curated by Christian Parisot, 1983, nº 8
Madrid, Modigliani, Sala de exposiciones la caja de pensiones, Curated by Christian Parisot, 1983, nº 8
Paris, Amedeo Modigliani, Musée de Art Moderne de la Ville de Paris, 1981, p. 107, nº 12
Paris, Modigliani: l'Ange au visage grave, Musée du Luxembourg, 2002, nº 15
New York, Modigliani: Beyond the Myth, 2004
New York, Modigliani unmasked, Jewish Museum, 2018

in process

Other This is one of the most interesting paintings to read.
1.- Next to the head of the caryatid there is another head in brown mixed with the background, almost as if it were on the shadows of the front one:

second caryatid

The hair style is absolutelly similar to the ones used in classical greek sculpture showing a more mediterranean aspect instead of african

greek style

Turn the image 180º you discover a new painting and a simple glimpse to the egyptian sculptures at the Louvre avaliable at that time left the door open to speculation:

caryatid turned 180 degrees showing a new painting
Probably he was just on a test... ( or as some "pretentious historian" say it's a Maldoror representation...

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The painting framed at the exhib. Jewish Museum 2018:
the painting framed at the jewish museum expo in 2018
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