secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 139 | Nº 142 | Nº 188 | YES | 32/1917 | Nº 192 | YES | YES |
Léopold Zborowski, Paris
Gallerie Berthe Weill, Paris (?)
Acquired by the Belgium Government 1927
Koninklijk Museum voor Schone Kunsten Antwerp, Belgium (Inv. nº 2060)
In Process
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 22
Carrieri, 12 opere di Amedeo Modigliani, Ed. del Milione, Milano 1950, pl. 101
Carli, Amedeo Modigliani, De Luca, Roma 1952, pl. 18
Haftmann, Malerei im XXen Jahrhundert, Munich, 1955, p. 401
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 139 (dated 1917- size 100 x 65 cm)
Dorival, Les peintres du vingtième siècle, Pierre Tisnl, Paris, 1957, p. 46
Cartier, Modigliani Nus, Hazan, Paris, 1958, pl. 13
Russoli, Amedeo Modigliani, Exhib. catalogue Palazzo Reale, Edizioni dell'ente manifestazioni Milanesi, Milano, 1958, pl. 33
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 95
Pavolini, Modigliani, Union Générale d'Éditions en accord avec l'Unesco, Milano 1966, pl. 9
Gindertael, Modigliani e Montparnasse, Milan, 1969, pl. IX, pl. 20
Ponente, Modigliani, Ed. Toray, Barcelona, 1969 - nº 48
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 142 (dated 1916)
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 188 (dated 1917 - 114 x 74 cm)
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 188
None, Modern Art, Peebles Art Library, New York, 1974, p. 33
Hubbard, Modigliani and the painters of Montparnasse, Lamplight Publ. New York, 1975, p. 30, pl. 20 (dated 1917 - size 116 x 73)
Zurcher, Modigliani, Ed. F. Hazan, Paris, 1980 - nº 38
Mann, Modigliani, Thames and Hudson, London, 1980, p. 147
Carluccio, Leymarie, Negri, Russoli, Brunhammer, École de Paris, Rive Gauche, Paris, 1981, p. 212
Roy, Modigliani, Nathan, Paris, 1985, p. 76
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 183 (dated 1916-1917)
Angela Ceroni, Les nus, Biblioteque des Arts, Paris, 1989, p. 65
Orion Press, Tokyo, 1989 - nº 33
Hulten/Celant, Arte Italiana Presenze 1900-1945, Bompiani, Milano, 1989, p. 355
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990, p. 108 - nº 57
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 32/1917 (size 114 x 74 - with incorrect image)
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 192 ( size 114 x 74)
Krystof, Amedeo Modigliani: The Poetry of Seeing, Taschen, Cologne,1996, 2000, p. 63 (dated 1917 - size 73 x 116)
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. 60 fig. 7 (dated 1917 - size 116 x 73)
Fraquelli, Modigliani and His Models. Exh. cat., Royal Academy of Arts. London, 2006, pp. 94-95 - nº 17 - dated 1917
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Ireson, Fraquelli, Modigliani, London, Tate Modern, Skira Rizzoli, London, 2017, p. 134
In process
Paris, Modigliani , Berthe Weill Gallery, 1917 (?)
Venezia, Mostra retrospettiva di Modigliani – Curated by Lionello Venturi - Biennale di Venezia , Sala XII degli Appels d'Italie, 1930 - nº 23
Brussels, Modigliani: Retrospective Exhibition. Palais des beaux-arts, 1933 - nº 20
Basel, Amedeo Modigliani, Kunsthalle, 1934 -nº 12
Roma, Modigliani, VI Quadriennale, 1952 -nº 18
Milano, Mostra di Amedeo Modigliani, Palazzo Reale, Curated by Franco Russoli, 1958 - nº 33
Roma, Modigliani, Galleria Nazionale d'Arte Moderna, 1959 - nº 26
Frankfurt, Steinernes Haus, 1963 - nº 18
Edinburgh, Modigliani, Royal Scottish Academy, 1963 - nº 35
London, Modigliani, Tate Gallery, 1963 - nº 35
Venezia, Arte Italiana Presenze 1900-1945, Palazzo Grassi, 1989
Martigny, Modigliani, Fondation Pierre Gianadda, 1990 - nº 71 (size in catalogue 114 x 74 )
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 54
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº 54
London, Modigliani and his models, Royal Academy of Arts, 2006 - nº 17 (titled "Draped Nude" - dated 1917 - size 114 x 74)
Bonn, Amedeo Modigliani: Ein Mythos der Moderne, Bundesrepublik, 2009 - nº 92
Villeneuve d'Ascq, L'oeil intérieur, LaM. Lille Métropole musée d'art moderne, 2016
Budapest, Modigliani, Hungarian National Gallery, 2016
Helsinki, Modigliani, Ateneum Art Museum, 2016-2017
London, Modigliani, Tate Modern, 2017-2018
Genova, Modigliani, Palazzo Duccale, 2017
In process
Nº 20 in D' Atri papers dated 1917, size corrected 100 x 65, titled "Nu accroupi" - Provenance in Zborowski, 1929> ?
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Detail of signature in visible normal light:
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This painting presents holes in 4 corners.
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The painting framed in London, Modigliani, Tate Gallery, 2017:
The painting at the Venice Biennale in 1930:
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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:
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The same sitter can be recognized in other paintings by Modigliani, with an undoubted match:
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This painting was part of the Modigliani technical research study in 2018 (mention the size of the painting - 60 x 92 cm ???)
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).