secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 118 | Nº 190 | Nº 106 | YES | 15/1916 | Nº 110 | YES | YES |
Amedeo Modigliani
Acquired from the artist by Jean Cocteau, Paris, ca. 1917 (sold to him for 5 FF)
Moise Kisling (acquired from above)
Sale: sold by Moise Kisling to the owner of Café Rotonde, ca. 1917 (sold for 11 FF)
Decaves Collection, Paris.
Léopold Zborowski, Paris.
Khoury Collection, Paris
Paul Guillaume, Paris (in 1926)
Domenica Guillaume (later Walter) Collection, Paris
Billy Rose Collection , New York (in 1944)
George Gard “Buddy” De Sylva Collection, Los Angeles (in 1951)
James Vigeveno Galleries, Los Angeles
Pierre F. Nesi, Paris
Henry Pearlman Collection, New York (Acquired March 1951 from the above for 17.000.000 FF / 49.000 USD of 1951)
Henry and Rose Pearlman Foundation - Princeton University Art Museum New Jersey, USA - (Inv. Nº L.1988.62.18)
Lent in 1974 to Princeton University Art Museum
George, Modigliani, l’amour de l’art, Paris, 1925, p. 384
Salmon, Modigliani, sa vie et son oeuvre, Ed. des Quatres Chemins, Paris, 1926 , pl. 1
Georges-Michel, Les Montparnos, Paris, 1929, p. 136
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 17
Paris-Montparnasse, Paris, February 1930, p. 17
Basler, Modigliani. Editions G. Cres, Paris, 1931, pl. 3
Taguchi, Modigliani, Alier-Sha Tokyo, 1936, pl. 4
Franchi, Modigliani, Arnaud, Firenze, 1946, pl. 12
Descargues, Amedeo Modigliani. Braun, Paris, 1951, pl. 27
D'Ancona, Modigliani, Chagall, Soutine, Pascin - Aspetti dell'espressionismo, Edizione del Milione, Milano, 1952, p. 26
Lipchitz, Amedeo Modigliani, H.N. Abrams, New York, 1952, p. 11
Lipchitz, Amedeo Modigliani, H.N. Abrams, New York, 1953
Jedlicka, Modigliani, E. Rentsch, Zürich, 1953, pl. 25
Cocteau, Modigliani, Paris et Feldafing, 1953
San Lazzaro, Modigliani peintures, Les Éditions du Chêne, Paris, 1953, p.7
Descargues, Amedeo Modigliani, Braun, Paris, 1954, pl. 27
T. Soby, Modigliani, Museum of Modern art, New York, catalogue exp. 1954, p. 41
Lipchitz, Amedeo Modigliani, H.N. Abrams, New York, 1954, pl. 30
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 118 (dated 1917)
San Lazzaro, Modigliani portraits, Tudor Publishing, New York, 1957, pl. 1
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958, nº 66
Russoli, Amedeo Modigliani, Silvana Editoriale d'Arte, Milano, 1958, pl. 15
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Zurich, 1958, pl. 31
Werner, Amedeo Modigliani , H. Abrams, New York 1966, p. 106 (dated 1917)
Werner, Amedeo Modigliani, Cercle d'art, Paris,1968, p. 114
Geza, Modigliani, Budapest, Corvina Kiadó, 1969 - nº 13
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 190 (dated 1917)
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 106 (dated 1916)
Diehl, Modigliani, Ed. Flamarion, Paris, 1977, p. 65
Mann, Modigliani, Thames and Hudson, London, 1980, p. 101
Hall, Modigliani, Phaidon, Oxford, 1984 - nº 22
Roy, Modigliani, Nathan, Paris, 1985, p. 84
Werner, Amedeo Modigliani, Harry H. Abrhams, New York, 1985, pp. 86-87 (dated 1917)
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 119 (dated 1916)
Parisot, Modigliani, Graphis Arte, 1988, p. 119
Royal Academy of Arts, Italian Art in the 20th Century: painting and Sculpture, 1900-1988, Prestel, London, 1989, p. 137
Braun, Italian Art, 1988, p. 61
Buisson, La scuola di Parigi e Modigliani, Graphis Arte, 1989, p. 87
Orion Press, Tokyo, 1989 - nº 20
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990, p. 81 - nº 33 (dated 1916)
Parisot, Modigliani, il segno, Electa, Florence, 1990, p. 119
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 15/1916 (dated 1916)
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 110 (dated 1916)
Parisot, Modigliani, Pierre Terrail, Paris, 1992, p. 85 (dated 1916)
Da Rosa, Modigliani, Giunti G. E, Firenze, 1996, pp. 52-53
Klüver, A day with Picasso : twenty-four photographs by Jean Cocteau, MIT Press, Cambridge, MA., 1997, p. 74 (Painted in April 1916?)
Monti a cura de R. Chiappini, Catalogue Amedeo Modigliani, Lugano, Skira, 1999, pp. 60-61
Wayne, Modigliani & the Artists of Montparnasse, Abrams-Albright-knox gallery, New York, 2002 - nº 14, p. 91 (dated 1916-17)
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, p. 49 (incorrectly dated in 1916)
Fraquelli, Modigliani, Fort Worth and Paris, in Burlington Magazine, nº 145, 2003, pp. 254-255
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. 136, pl. 52 - dated 1916-17
Fraquelli, Modigliani and His Models. Exh. cat., Royal Academy of Arts. London, 2006, pl. 10, p. 32 (dated 1916)
Ireson, Fraquelli, Modigliani, London, Tate Modern, Skira Rizzoli, London, 2017, p. 113
In process
Paris, Exposition de peinture moderne, Galerie Devambez, 1920
Paris, Modigliani, Galerie Bernheim-Jeune, 1922 - nº 6
Paris, 1938 - nº 2 ?
New York, Art in Progress, Museum of Modern Art, 1944 (Billy Rose Collection), p. 46
Cleveland, Modigliani: Paintings, Drawings, Sculpture, Cleveland Museum of Art, 1951 (dated 1917)
New York, Modigliani: Paintings, Drawings, Sculpture, The Museum of Modern Art, 1951 (dated 1917)
New York, Paintings from private collections, The Museum of Modern Art, 1955
New York, Collection of Mr. and Mrs. Henry Pearlman, M. Knoedler & Co, 1959
Cincinnati, Amedeo Modigliani: Paintings, Sculpture and Drawings, The Contemporary Arts Center, 1959 - nº 14 (dated 1917)
Boston. Modigliani: Paintings and Drawings. Exh. cat., Museum of Fine Arts, 1961 - nº 17 (dated 1917)
Los Angeles. Modigliani: Paintings and Drawings. Exh. cat., Los Angeles County Museum, 1961 - nº 17 (dated 1917)
Edinburgh, Modigliani, Royal Scottish Academy, 1963
London, Modigliani, Tate Gallery, 1963 - nº 24
Budapest, Modigliani, 1969 - nº 13
New York, Amedeo Modigliani; loan exhibition, Acquavella Galleries, Inc. 1971 - nº 12 (dated 1916)
London, Italian Art in the 20th Century: painting and Sculpture, 1900-1988, Royal Academy of Arts, 1989 - nº 61
Munich, Italian Art, 1988
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 33 (dated 1916)
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº 33 (dated 1916)
Lugano, Amedeo Modigliani, Museo d'Arte Moderna, 1999 - nº 29 (dated 1916 by Decrooq)
Buffalo NY, Modigliani and the artists of Montparnasse, Albright-Knox Gallery, 2002-2003 - nº 14, p. 91 (dated 1916-17)
Fort Worth, Modigliani and the artists of Montparnasse, Kimbell art Museum, 2003 - nº 14, p. 91 (dated 1916-17)
Los Angeles, Modigliani and the artists of Montparnasse, Los Angeles County Museum of Art, 2003 - nº 14, p. 91 (dated 1916-17)
New York, Modigliani: Beyond the Myth, The Jewish Museum, 2004
Bonn, Amedeo Modigliani: Ein Mythos der Moderne, Bundesrepublik, 2009 - nº 68 (dated 1916)
New Jersey, Cézanne and the Modern, Princeton University Art Museum, 2014
Aix en Provence, Chefs-d'Oeuvre de la Collection Pearlman Cézanne et la Modernité, Musdée Granet, 2014
Oxford, Cézanne and the Modern, Ashmolean Museum, 2014
St. Petersburg, Modigliani, Soutine and other legends of Montparnasse (the Netter Collection), Curated by Marc Restellini, Fabergé Museum, 2017-2018
London, Modigliani, Tate Modern, 2017-2018
In process
This painting was done at the same time with Kisling (based on Pearlman information), the Kisling version of this image known as Jean Cocteau assis dans son atelier (1916)
show the way Modigliani works, while Kisling is worried about the space and the volumes and things that surround Cocteau, Modigliani converts
all the environment of Cocteau in a few straight lines used only to send the portrayed forward to the viewer, only the character is important, as extreme example of this, take a
look at the curved shape behind the chair back near the neck and with that curve in mind go down the page to see the x-ray, the curve is just the head of the previous painting.
The painting by Kisling is dated in 1916 and that date has changed the datation for the Modigliani one, but probably the painting remained unsigned
and unfinished until 1917 that could probably be the correct explanation on why the Modigliani work is dated in top in 1917.
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Nº 325 in D'Atri papers, as portrait du poête Jean Cocteau - 100 x 81 signed top left, dated 1917 Paris, provenance: Zborowski > Decaves > Guillaume in 1926
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Detail of signature in visible normal light:
Inverted image:
The line where the date 1917 is painted, usually lies under the frame that is why none of the modern historians mention it, Since Schlamenbach all the historians had accepted as
valid the 1916 date, mainly based on the Kisling version that is dated in 1916.
So just taking the painting out of the frame and they would have seen the truth and instead of doing it, they remained attached to the bibliographic sources/mistakes instead of seeing by their own.
In red the area that is usually hidden under the frame:
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The eyes / eyebrows of this painting are absolutely unique but matches perfectly the style used by Modigliani from 1916 to 1917 production, the use of
patches of color to contour is classical in this period.
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Detail of the ear where the drawing with colors and black detail is visible and is painted over the color (on top of the color) very strongly applied.
--------------------------------
Detail of hand:
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The X-ray of this painting show another painting under the actual layer, probably by Moïse Kisling, this re use of the canvas from another fellow artist show that Modigliani's lack of
materials was real.
Image of the X ray:
If we turn this image 90 degrees and enhance the back painting this is the result:
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The painting framed at the Princeton University Museum, the frame is the same since at least 1950
Image of the Painting at the Pearlman Office Ca. 1960:
Back of the canvas showing that it has been relined and set up a new stretcher:
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The number of drawings and sketches for this painting I have found in old sales and books is more than 15 serious ones