secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 141 | Nº 214 | Nº 186 | YES | 37/1917 | Nº 200 | ? | YES |
Léopold Zborowski, Paris
Libaude Collection, Paris
Bing Gallerie, Paris
Fénéon Collection, Paris (1929- 1938)
?
Solomon R. Guggenheim Museum, New York (Inv. nº 41.535)
Solomon R. Guggenheim Founding Collection, by gift in 1941.
In Process
George, Modigliani, l’amour de l’art, Paris, 1925, p. 388
Coquiot, Kunst und Kunstler, Modigliani, Bruno Cassirer, Berlin, 1926, p. 466
Salmon, Modigliani, sa vie et son oeuvre,Ed. des Quatres Chemins, Paris, 1926, pl. 18
Dale, Modigliani, Knopf, New York, 1929, pl. 20
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 23
Descargues, Amedeo Modigliani. Braun, Paris, 1951 , pp. 54-55
Lipchitz, Amedeo Modigliani, H.N. Abrams, New York, 1954, pl. 2
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 141
Gindertael, Shop libre diffusion, 1967, p. 48, pl. 22
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 122
Ceroni, Amedeo Modigliani : dessins et sculptures ; avec suite du catalogue illustre des peintures, Edizioni del Milione, Milano, 1965, pp. 18-19
Arnason, History of Modern Art, New York, 1968, p. 271
Guggenheim Museum, Acquisitions of the 1930's and 1940's, Salomon R. Guggenheim Museum, 1968, p. 69
Selections from the Guggenheim Museum Collection, 1900-1970, Salomon Guggenheim Museum, New York, 1970, pp. 314-315
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 214
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 186 (dated 1917)
Hubbard, Modigliani and the painters of Montparnasse, Lamplight Publ. New York, 1975, p. 32, pl. 22
Hall, Modigliani, Phaidon, Oxford, 1984 - nº 39
Guggenheim Museum, 100 works by modern masters from the Guggenheim Museum, Abrams, New York, 1984 - nº 50, pp. 88, 112-113
Hulten/Celant, Arte Italiana Presenze 1900-1945, Bompiani, Milano, 1989, p. 356
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990, p. 109 - nº 58
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 37/1917
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 200 (dated 1917)
Parisot, Modigliani, Pierre Terrail, Paris, 1992, pp. 100-101
Kruszynski. Amedeo Modigliani: Portraits and Nudes. Munich, 1996, p. 82
Krystof, Amedeo Modigliani: The Poetry of Seeing, Taschen, Cologne,1996, 2000, p. 71
Wayne, Modigliani & the Artists of Montparnasse, Abrams-Albright-knox gallery, New York, 2002, p. 98 - nº 21
Fraquelli, Modigliani, Fort Worth and Paris, in Burlington Magazine, nº 145, 2003, pp. 254-255
Icons of art : the 20th century, Prestel, Munich/New York, 2003, p. 57
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. 133, pl. 48
Fraquelli, Modigliani and His Models. Exh. cat., Royal Academy of Arts. London, 2006, pp. 104-105 - nº 23
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Ireson, Fraquelli, Modigliani, London, Tate Modern, Skira Rizzoli, London, 2017, p. 136-137
In process
Paris, Modigliani , Berthe Weill Gallery, 1917 (?)
Paris, Modigliani, Galerie Bing et Cie, 1925 - nº 26?
Paris, Trente ans d'Art Indépendant, Grand Palais des Champs-Elysées, 1884-1914, 1926 - nº 3104
New York, A Selection I - II -II -IV - V -VI, Salomon R. Guggenheim Museum, 1953-1956
New York, Inaugural Selection, Salomon R. Guggenheim Museum, 1960
New York, Modern Masters from the collection of Salomon R. Guggenheim Museum, Salomon R. Guggenheim Museum, 1961 - 1965
New York, Gaugin and the decorative style, Salomon R. Guggenheim Museum, 1966
New York, Museum selections, seven decades, Salomon R. Guggenheim Museum, 1967
New York, Acquisitions of the 1930's and 1940's, Salomon R. Guggenheim Museum, 1968, p. 69
London, Italian Art, 1900-1945, Victoria & Albert Museum?, 1989
Venezia, Arte Italiana Presenze 1900-1945, Palazzo Grassi, 1989
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991- nº 53
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº 53
Buffalo NY, Modigliani and the artists of Montparnasse, Albright-Knox Gallery, 2002-2003 - nº 21
Fort Worth, Modigliani and the artists of Montparnasse, Kimbell art Museum, 2003 - nº 21
Los Angeles, Modigliani and the artists of Montparnasse, Los Angeles County Museum of Art, 2003 - nº 21
New York, Modigliani: Beyond the Myth, The Jewish Museum, 2004
London, Modigliani and his models, Royal Academy of Arts, 2006 - nº 23
Moscow, Meeting Modigliani, Pushkin State Museum of Fine Arts, 2007
Madrid, Modigliani y su tiempo, Museo Nacional Thyssen Bornemisza, 2008
London, Modigliani, Tate Modern, 2017-2018
In process
mention the possible sale at hotel Drouot, with no date -Provenance in Zborowski, 1929> Libaude, 1929 > Bing, 1929 > Fénéon
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Detail of signature in visible normal light:
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Detail of the ear where the drawing is visible and is painted over the color (on top of the color)
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The same sitter can be recognized in other paintings by Modigliani, with an undoubted match:
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The painting framed at London, Modigliani, Tate Gallery, 2017:
The painting framed at the Bing Gallery exhibition 1925 in Paris:
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This painting was part of the Modigliani technical research study in 2018
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, ocher and umber-colored 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.- Ocher
6.- Umber-colored 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 Ocher
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 conclusion that is a very short palette, a simple range made with pre industrial oils (non artisan, but small scale industrial oils).
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