secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 242 | Nº 362 | Nº 202 | YES | 42/1917 | Nº 205 | YES | YES |
Paul Guillaume, paris
Francis Carco Collection, Paris
Sale: Drouot, Paris - Carco Collection Sale - 02/03/1925
Mouradian Collection, Paris
Fénéon Collection, Paris
Sale: Drouot, Paris - Fénéon Collection - (not included in the sale of 04/12/1941)
?
Beyeler Galerie, Basel ?
?
E. Fila, Biella (by 1958)
?
Agnelli Collection, Torino
Pinacoteca Giovanni e Marella Agnelli, Torino, Italia
In process
Georges-Michel, Les Montparnos, Paris, 1929, p. 183
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 38
Basler, Modigliani. Editions G. Cres, Paris, 1931. pl. 30
San Lazzaro, Modigliani peintures, Les Éditions du Chêne, Paris, 1947
San Lazzaro, Modigliani peintures, Les Éditions du Chêne, Paris, 1953
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 242
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 127
Russoli, Amedeo Modigliani, Exhib. catalogue Palazzo Reale, Edizioni dell'ente manifestazioni Milanesi, Milano, 1958, pl. 25
Werner, Amedeo Modigliani, Garzanti, Milano 1967, p. 142
Werner, Amedeo Modigliani, Cercle d'art, Paris,1968, p. 150
Geza, Modigliani, Budapest, 1969 -nº 40
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 362 (dated in 1919)
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 202
Diehl, Modigliani, Ed. Flamarion, Paris, 1977, p. 70
Castieau-Barrielle, Modigliani, ACR Editions, Paris, 1987, p. 182
Angela Ceroni, Les nus, Biblioteque des Arts, Paris, 1989, p. 87
Royal Academy of Arts, Italian Art in the 20th Century: painting and Sculpture, 1900-1988, Prestel, London, 1989, p. 139
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990, p. 111 - nº 60
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 42/1917
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 205
Parisot, Modigliani la vita le opere, Carte Segrete / Musée du Montparnase, 2006 - nº 29 (dated 1917-18)
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
In process
Paris, Modigliani, Galerie Bing et Cie, 1925 - nº 21
Paris, la grande peinture contemporaine à la collection Paul Guillaume, Galerie Bernheim-Jeune, 1929
Roma, VII Quadriennale, 1955-1956
Milano, Mostra di Amedeo Modigliani, Palazzo Reale, Curated by Franco Russoli, 1958 - nº 36
Roma, Modigliani, Galleria Nazionale d'Arte Moderna, 1959 - nº 30
Edinburgh, Modigliani, Royal Scottish Academy, 1963 - nº 44
London, Modigliani, Tate Gallery, 1963 - nº 44
Frankfurt, Steinernes Haus, 1963 - nº 20
London, Italian Art in the 20th Century: painting and Sculpture, 1900-1988, Royal Academy of Arts, 1989 - nº 63
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 60
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº 60
Madrid, Modigliani y su tiempo, Museo Nacional Thyssen Bornemisza, 2008
Gallarate, Il mistico profano, Omaggio a Modigliani, MAGA Fondazione Galleria d’Arte Moderna e Contemporanea, 2010
Pisa, Amedeo Modigliani et ses amis, BLU | Palazzo d’arte e cultura, 2014- 2015
Torino, Modigliani e la Bohème di Parigi, Galleria d’Arte Moderna, 2015
In process
Detail of signature in visible normal light:
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This painting presents holes in 4 corners.
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Painting is covered with a high glossy varnish layer, done by the artist, it is recorded in several sources that Modigliani wanted to imitate the feel & texture of
the old masters, a modern Titian, so he varnished his painting to achieve a similar glossy craquelure of the surface (also some of the newest studies have
discovered some other were vernished later).
This is one of the main reasons to avoid strong cleaning in the Modigliani nudes, first because they lost the red/orange (red lake) veils mixed with the varnish.
I have no information of any cleaning procedure in this case, but the surface seems to be clean and the painting when live mantain the reds in perfect
shape (many known photos adjust the red surface to a more softer orange or almost pink in photographic effects).
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