secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 152 | Nº 166 | Nº 198 | YES | 47/1917 | Nº 206 | YES | YES |
Nude on a cushion - Nudo rosso - Nudo rosa - Recumbent nude - Grand nude - Nudo coricato
Léopold Zborowski, Paris
Netter Collection, Paris
Riccardo and Cesarina Gualino Collection, Torino (acquired in Paris, 2 October 1928)
Società Anonima Finanziaria, Zaccaria Pisa, Milan; collection sale, Galleria Pesaro, Milan, 5-8 February 1934, lot 1851
Pietro Feroldi Collection, Brescia (by 1935)
Gianni Mattioli Collection, Milan (acquired from the above, 1949)
Mattioli descent, Switzerland, 1987
Sale: Christie's, New York - The Artist's Muse: A Curated Evening Sale - 9 / November / 2015
Sold: 170.405.000 USD
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Liu Yiqian Collection, China
Da Verona, Azyadèh, la donna pallida, Florence, 1928
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 25 - nº 4
Chessa, “Per Amedeo Modigliani” in L’Arte, vol. XXXIII, no. 1, Turin, January 1930, p. 40
Da Verona, I promessi sposi, Milan, 1930
Venturi, “The Collection of Modern Art of Signor Gualino and the Modigliani Room at the Venice Biennial Exhibition” in Formes, no. 7, July 1930 (ill. opposite p. 9; titled Nude)
Guerrisi, La nuova pittura: Cézanne, Matisse, Picasso, Derain, De Chirico, Modigliani, Turin, 1932, pl. 17
Scheiwiller, Amedeo Modigliani, Milan, 1935
Huyghe, French Painting: The Contemporaries, New York, 1939, pl. 63, titled Nude on a divan
Piovene, La raccolta Feroldi, Milan, 1942, pl. 43
Goldberg & Navon, Three Jewish Artists, Modigliani- Pascin- Soutine, Hashomer Hatzair, Palestine, 1944, pl. 7
Carrà, Artisti Moderni: con una lettra di Massimo Bontempelli, Florence, 1944, pp. 86-88
Franchi, Modigliani, Arnaud, Firenze, 1944, p. 52, pl. 30; titled Nudo rosso
Carrieri, 12 opere di Amedeo Modigliani, Ed. del Milione, Milano 1947, pl. 8
Kraus, ed., Modern Italian Painters, Englewood, New Jersey, 1947, pl. 5
Piovene, La raccolta Feroldi, 2nd edition, Milan, 1947, pl. 17; titled Nudo rosso
Da Verona, Le canzoni di sempre e di mai di ieri e di domani, Milan, 1947
L. Venturi, Pittura contemporanea, Milan, 1948, p. 68, pl. 153; titled Nudo di donna, dated 1918
Marchiori, Modigliani: Sei tavole a colori, Milan, 1949
Apollonio, “Amedeo Modigliani” in Cahiers d'art: Un demi-siècle d'art italien, vol. 25, no. 1, Paris, 1950, p. 167
Carrieri, Pittura scultura d'avanguardia in Italia, Milan, 1950, p. 93, pl. 104
Cogniat, Orientations de la peinture française de David à Picasso, Nice, 1950, pl. 131
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milan, 1950, pl. 9, dated 1917
Cinotti, La Femme nue par les peintres, Paris, 1951 , pl. 43; illustrated on the cover; titled Nu au divan
T. Soby, Modigliani, Museum of Modern art, New York, catalogue exp. 1951, p. 14; dated 1917-18; titled Nude on a cushion
Descargues, Amedeo Modigliani, Paris, 1951, pl. 4
Lipchitz, Amedeo Modigliani, New York, 1952, p. 15; titled Nude on a Cushion
Valsecchi, 24 dipinti in una raccolta d’arte moderna, Milan, 1952, pl. 8
Benet, Simbolismo, Barcelona, 1953, pl. 227, Titled red nude
Carco, L'ami des peintres, Paris, 1953
Jedlicka, Modigliani, E. Rentsch, Zürich, 1953, pl. 32
Lipchitz, Amedeo Modigliani, H.N. Abrams, New York, 1953, pl. 10; titled Nude on a Cushion
D’Ancona, Modigliani, Chagall, Soutine, Pascin: Some Aspects of Expressionism, Milan, 1954, p. 11
Descargues, Amedeo Modigliani, Braun, Paris, 1954, pls. 4 and 54-55; dated 1917 and titled Nu au divan
Lipchitz, Amedeo Modigliani, H.N. Abrams, New York, 1954, pls. 33-34; titled Nude on a Cushion
Castelfranco / Valsecchi, Pittura e scultura italiane dal 1910 al 1930, Rome, 1956, p. 96, pl. XCVIII; titled Nudo rosa
Chastel, L’art italien, Paris, 1956, vol. II, pl 125
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 152, titled Nu au divan and Nu couché (les mains derrière la tête)
Garland, The Changing Face of Beauty: Four Thousand Years of Beautiful Women, London, 1957, p. 178
Cartier, Modigliani Nus, Hazan, Paris, 1958, pl. 3
Russoli, Amedeo Modigliani, Exhib. catalogue Palazzo Reale, Edizioni dell'ente manifestazioni Milanesi, Milano, 1958, pl. 34; dated 1917 and titled Nudo sdraiato
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958, pp. 62-63 - nº 124
Roy , Modigliani, Skira, Lausanne, 1958, p. 132, p. 82; dated circa 1917
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Zurich, 1958, pl. 51; dated 1917
Russoli, Amedeo Modigliani, Fratelli Fabbri, Milano, 1963, pl. 8; titled Nudo rosso
Exh. catalogue, Arte italiano contemporaneo desde 1910, Museo de Arte Moderno, Mexico City, 1966, pp. 48 and 108, titled Desnudo rosa
Werner, Amedeo Modigliani, Cercle d'art, Paris,1968, p. 132-133, titled Nu sur un cousin
Diehl, Modigliani, Ed. Flamarion, Paris, 1969, p. 92; dated circa 1918
Géza, Modigliani, Budapest, 1969, p. 28 - nº 25, titled Rózsaszínu akt
Gindertael, Modigliani e Montparnasse, Milan, 1969, p. 47; pl. 21
Ceroni and L. Piccioni, I dipinti di Modigliani, Milan, 1970, p. 98 - nº 198; dated 1917 and titled Nudo sdraiato, a braccia aperte
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970, p. 118 - nº 166, dated 1916
Cachin / A. Ceroni, Tout l’oeuvre peint de Modigliani, Paris, 1972, p. 98 - nº 198; dated 1917 and titled Nu couché, les bras ouverts
Guttuso, Mestiere di Pittore: Scritti sull'arte e la società, Bari, 1972, p. 175
Hubbard, Modigliani and the painters of Montparnasse, Lamplight Publ. New York, 1975, pl. 21; dated 1917-18 and titled Reclining nude
Argan, Die Kunst des 20. Jahrhunderts 1880-1940, Berlin, 1977, pl. LVIII; titled Liegender weiblicher Akt
Mann, Modigliani, Thames and Hudson, London, 1980, p. 146 - nº 104; dated 1917
Exh. catalogue, Musée Saint-Georges, Liège, 1980, p. 38, no. 30; dated 1917 and titled Nu au divan
Zurcher, Modigliani, Ed. F. Hazan, Paris, 1980, p. 31, pl. 64; dated 1917 and titled Nu couché, les bras ouverts
Carluccio, Leymarie, Negri, Russoli, Brunhammer, École de Paris, Rive Gauche, Paris, 1981, p. 213
Exh. catalogue, Dagli ori antichi agli anni Venti: Le collezioni di Riccardo Gualino, exh. cat., Galleria Sabauda, Turin, 1982, p. 28; titled Nudo rosso
Exh. catalogue, Modigliani: 1884-1920, exh. cat., Centre Cultural de la Caixa de Pensions, Barcelona, 1983, p. 53
Roy, Modigliani, Nathan, Paris, 1985, p. 158; dated 1917 and titled Nu couché, les bras ouverts
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 154; dated circa 1917 and titled Nu couché, les bras ouverts
Parisot, Modigliani, Graphis Arte, 1988, p. 138; dated 1917 and titled Nudo rosso
Angela Ceroni, Les nus, Biblioteque des Arts, Paris, 1989, p. 80 - nº 23 , p. 81; dated 1917 and titled Nu couché, les bras ouverts
V.B. Mann, ed., Gardens and Ghettos: The Art of Jewish Life in Italy, exh. cat., The Jewish Museum, New York, 1989, p. 180; titled Nudo rosso / The Red Nude
Exh. catalogue, Morandi e Milano, Palazzo Reale, Milan, 1990, fig. 4
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990- nº 58 , p. 46, pl. 6; dated 1917 and titled Akt
Exh. catalogue, Amedeo Modigliani , Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1991, p. 221 - nº 58 , p. 46, pl. 6; dated 1917 and titled Akt
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 47/1917 - titled Nu couché les bras ouverts and with incorrect provenance
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 206; dated 1917 - dated 1917, titled Nudo sdraiato a braccia aperte (Nudo rosso) and with incorrect exhibition history
Parisot, Modigliani, Pierre Terrail, Paris, 1992, p. 96
Kruszynski. Amedeo Modigliani: Portraits and Nudes. Munich, 1996, p. 99
La pittura italiana : i maestri di ogni tempo e i loro capolavori, Mondadori, Milano, 1998, p. 372
Krystof, Amedeo Modigliani: The Poetry of Seeing, Taschen, Cologne, 2000, p. 68, dated 1917 and titled Sleeping nude with arms open (red nude)
Lamberti, “Lionello Venturi e la pittura a Torino, 1919-1931” in Arte in Piemonte, Turin, 2000, no. XIV, pp. 43-45 and 333, pl. 27; dated 1917 and titled Nudo rosso
Fergonzi, ed., The Mattioli Collection: Masterpieces of the Italian Avant-garde, exh. cat., Peggy Guggenheim Collection, Venice, 2003, pp. 36, 38, 52, 60, 75 and 95; titled Red Nude and dated 1917
Masoero / Marconi / Matitti, L’officina del mago: L’artista nel suo atelier, exh. cat., Palazzo Cavour, Turin, 2003, no. XIV, p. 152, dated 1917 and titled Nudo rosso
Braun, "The Faces of Modigliani: Identity Politics Under Fascism"
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, pp. 32 and 40 - fig. 7; dated 1917 and titled Nude (Nu couché, les bras ouverts) and Nudo (Red Nude)
López Blázquez, Modigliani, Polìgrafía, Barcelona, 2005, pp. 54-55; dated 1917
Fraquelli, Modigliani and His Models. Exh. cat., Royal Academy of Arts. London, 2006, pp. 100-101- nº 21, dated 1917 and titled Reclining nude with outstretched arms
Parisot, Amedeo Modigliani: Une vie en image, Paris, 2007, p. 210; dated 1917 and titled Nu rouge
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Marini, Modigliani , Skira, France, 2008, cover; p. 66 - nº 22
In process
Paris, Modigliani, Galerie Bing et Cie, 1925 (unknown number)
Venezia, Modigliani retrospective, XIII Biennale di Venezia, 1922 ? or 1926?
Venezia, Mostra retrospettiva di Modigliani – Curated by Lionello Venturi - Biennale di Venezia , Sala XII degli Appels d'Italie, 1930 - nº 2
Budapest, Modern olasz muvészeti kiállítás, Mucsarnok, 1936, p. 38 - nº 314
Roma, Omaggio a sedici artisti italiani, Galleria di Roma, 1937 - nº 11
Milano, Associazione fra gli amatori e i cultori delle arti figurative contemporanee, 1946
Brussels, Art Italien Contemporain, Société Auxiliaire des Expositions du Palais des Beaux-Arts, 1950 - nº 69
Amsterdam, Figuren uit de Italiaanse kunst na 1910, Stedelijk Museum, 1950 - nº 70
Paris, Exposition d’Art Moderne Italien, Musée national d’art moderne, 1950 - nº 50
London, Modern Italian Art: An Exhibition of Paintings and Sculpture Held Under the Auspices of The Amici di Brera and The Italian Institute, Tate Gallery, 1950, p. 13 - nº 63; titled Recumbent Nude
Cleveland, Modigliani: Paintings, Drawings, Sculpture, Cleveland Museum of Art,1951
New York, Modigliani: Paintings, Drawings, Sculpture, The Museum of Modern Art, 1951
Florence, Arte moderna in una raccolta italiana, Palazzo Strozzi, 1953 - nº 21 ; titled Grande nudo
Rome, VII Quadriennale nazionale d’arte di Roma, Palazzo delle Esposizioni, 1955-1956, p. 58 - nº 61
Milano, Mostra di Amedeo Modigliani, Palazzo Reale, Curated by Franco Russoli, 1958 - nº 34
Torino, Capolavori d’arte moderna nelle raccolte private, Civica galleria d’arte moderna, 1959, p. 42 - nº 24; titled Nudo coricato
Florence, Arte Moderna in Italia, 1915-1935, Palazzo Strozzi, 1967 - nº 446, dated 1917 and titled Nudo disteso
Travelling exhibition, Masters of Modern Italian Art from the Collection of Gianni Mattioli, The Phillips Collection, 1967-72 - nº 69
Exhibition travelled to Washington, D.C., The Phillips Collection; Dallas Museum of Fine Arts, San Francisco Museum of Art, Detroit Institute of Arts; Kansas City, William Rockhill Nelson Gallery of Art;
Boston Museum of Fine Arts and New York, Olivetti, Brussels, Palais des Beaux-Arts; Humlebæk, Louisiana Museum of Modern Art; Hamburger Kunsthalle; Madrid, Museo Español de Arte
Contemporáneo and Barcelona, Palacio de la Virreina; Kyoto, The National Museum of Modern Art; Tokyo, The National Museum of Modern Art.
Liege, Modigliani exhibition. Musée Saint Georges, 1980 - nº 30
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991- nº 58 , p. 46, pl. 6; dated 1917 and titled Akt
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991
Tokyo, A History of Art in Italy in the Twentieth Century, Museum of Contemporary Art, 2001 - nº 20
London, Modigliani and his models, Royal Academy of Arts, 2006 - nº 21; dated 1917 and titled Reclining Nude with Outstretched Arms
Torino, Modigliani e la Bohème di Parigi, Galleria d’Arte Moderna, 2015
In process
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The signature of the painting:
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The eyes of this painting reflect a style Modigliani used from the end of 1915 to the first months of 1918, very similar eye construction can be
seen in many Modigliani works from this period but this is one of the first total black eyes:
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This painting presents holes in 2 corners, probably the other 2 holes are covered by restoration.
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Painting was 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).
I have no information on any cleaning process over this work, but a simple look to the images previous to auction and post auction show a bleaching of the surface and
the lost of the red/orange quality of the skin ( this work was known as the red nude because of the saturated orange skin), but I do not have trustable information.
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Extract from:
The Modigliani technical research study "Modigliani's painted Nudes 1916- 17
Burnstock, Duvernois, Stringari
Burlington Magazine - April 2018
Modigliani employed a consistent and limited range of pigments for painting the nudes, including lead white with a low proportion of zinc, vermilion red, an organic red lake pigment,
iron oxide-containing pigments including sienna, ochre and umber-coloured ones, Prussian blue, French ultramarine, calcium phosphate (bone) black and viridian green. There are
consistencies in the combinations of pigments for flesh; these include a mixture of white with vermilion and a separate application of a transparent red lake.
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In resume the main identified colors/pigments in Modigliani's nudes (and this means all the 1916-17 nudes) are:
1.- Lead White with a low proportion of zinc.
2.- Vermilion red
3.- Organic red lake
4.- Sienna
5.- Ochre
6.- Umber-coloured ones
7.- Prussian blue
8.- French ultramarine
9.- Bone black
10.- Viridian green
This does not means that a painting has to present the 10 pigments, this are the pigments found in all the analyzed nudes:
Example:
- "Nude 1" have Prussian blue but not the French Ultramarine (both are blues)
- "Nude 2" have French Ultramarine but no Prussian Blue
- "Nude 3" have Sienna
- "Nude 4" have Ochre
and so on.
There is no need that the same painting have all the 10 detected, you can achieve the same effect using just one blue instead of the two detected.
Mix, Vermilion red + Sienna and you have the perfect orange skin in Modigliani from 1914 to 1917-18
Mix Vermilion + Sienna + White and you have the perfect pink skin in Modigliani from 1917-8 to 1919
General Museum technical studies have reached the conclussion that is a very short palette, a simple range made with pre industrial oils (non artisan, but small scale industrial oils).
Just a visual examination ( I have no technical information) fits perfectly in the common visual Modigliani Nude Palette:
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The painting at the Bing Gallery exhibit in 1925:
The painting with the Mattioli frame:
The painting framed during the Christie's 2015 auction:
