secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 199 | Nº 327 | Nº 213 | YES | ? | Nº 219 | YES | ? |
LeopoldZborowski, Paris (1928)
Paul Guillaume, Paris? (probably wrong)
Bernheim Jeune, Paris
?
Netter Collection, Paris (1933)
In process
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 33
Franchi, Modigliani, Arnaud, Firenze, 1946, pl. 24
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 199
Modigliani J. , Modigliani: Man and Myth, Orion Press, New York, 1958 - nº 45
Modigliani J. , Modigliani senza leggenda, Vallecchi Editore, Firenze, 1958 - nº 45
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 327 (dated in 1918)
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 213
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 219
Restellini, La Collection Jonas Netter, Pinacotheque de Paris, 2012 p. 64 dated in 1917
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
In process
Brussels, Modigliani: Retrospective Exhibition. Palais des beaux-arts, 1933 - nº 36 (1917, property of Netter Collection, Paris)
Basel, Amedeo Modigliani, Kunsthalle, 1934 - nº 28
Paris, La Collection Jonas Netter, Pinacotheque de Paris, 2012
Milano, La Collection Jonas Netter, Palazzo Reale, 2013
St. Petersburg, Modigliani, Soutine and other legends of Montparnasse (the Netter Collection), Curated by Marc Restellini, Fabergé Museum, 2017-18
Livorno, La Collection Jonas Netter - Modigliani, Soutine et l'Aventure de Montparnasse, Museo della Città, 2019-2020
In process
Nº 36 in D'Atri papers as young girl with white collar /young schoolgirl with white collar - dated 1917 - provenance in Zborowski 1928 > Guillaume > Netter in 1933
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This work presents holes in the 4 corners, one of them covered by restoration.
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Detail of signature:
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The painting was made on a canvas with a very basic or null preparation, in some areas you can see the raw linen directly while in others you
can see a layer of very thin white primer:
Black borders can be seen all over the canvas stretcher, because the canvas was painted while not nailed to the stretcher, probably against a wood or a wall:
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The background used is almost the same as the painting of a boy with sailor suit at the Barnes collection:
As can bee seen at simple view the background is the same but there is no furniture in front of the curved shape (probably a stove) and the horizontal line
in the back is not present in the boy.
The Boy at the Barnes also dated in 1917 is probably a work done in the first months of 1917 or the last of 1916 while the yellow dress girl is made probably in the
last months of 1917 or the firsts of 1918, this shows the evolution of Modigliani in terms of background, so this simple contrast between 2 works at the same location
same or very similar year and almost identical portrayed reflect a clear demonstration that there is no rules for the backgrounds in Modigliani, he was in constant evolution.
Same feature can be seen when looking at the hands of both childs, the evolution of the painting show the artist is leaving behind his spots period
(Macchiaioli style) for a more softer representation of colors/deep but many of his classical features remain, like the orange lines of color to represent the volume:
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The painting framed while at St. Petersburg, Modigliani, Soutine and other legends of Montparnasse (the Netter Collection), Curated by Marc Restellini with the
Classical dramatic and excesive illumination he usually likes at the Fabergé Museum, 2017-18:
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Detail of the ears where the contour is clearly visible and is painted over the color (on top of the color)
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This is a forgery based on this painting done by Elmyr de Hory (easy to see the total lack of quality compared to the original painting)
