secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 132 | Nº 153 | Nº 199 | YES | 40/1917 | Nº 208 | ? | ? |
Léopold Zborowski, Paris
Galerie Weill, Paris (1917)?
Léopold Zborowski, Paris
Georges Menier Collection, Paris (Acquired 1926-until 1933)
Claude Menier Collection, Paris (1933 - 1958)
Galerie Mouradian-Vallotton, Paris
Perls Galleries, New York (Acquired 1960 - stock nº 6254)
Klaus G. Perls Collection, New York (until 1997)
Metropolitan Museum, New York, USA (Inv. Nº 1997.149.9)
Gift to MMA in 1997 by Klaus G. Perls
In Process
Deutsche Kunst und Dekoration, Gemälde von Modigliani, Verlagsanstalt Alexander Koch, XXVIII - July 1925, p. 208, as "Liegender Akt"
Salmon, Modigliani, sa vie et son oeuvre,Ed. des Quatres Chemins, Paris, 1926, pl. 8 ( as "Femme endormie," 1917, collection G. Meunier)
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1927, pl. 4
Scheiwiller, Editions des Chroniques du jour, Paris, 1928, pl. 3
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, pp. 20-21 (dated 1917)
Georges-Michel, Les Montparnos, Paris, 1929, p. 223
Taguchi, Modigliani, Alier-Sha Tokyo, 1936, pl. 9
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1936-XIV, pl. 6
Costantini. Architettura, scultura, pittura, contemporanea Europea in un secolo di materialismo. Milan, 1951, p. 259
Carrieri. Avant-Garde Painting and Sculpture (1890–1955) in Italy, Milano, 1950 - 1955, pl. 102
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 132 (dated 1917)
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 130 (dated 1918)
Modigliani J. , Modigliani sans légende, Gruend, Paris, 1961, pl. 52 (dated 1918)
Werner, Amedeo Modigliani , H. Abrams, New York 1966, pl. 52 (dated 1918)
Canaday, "Art: Modigliani's Nudes, a Charming Sisterhood." New York Times, October 15, 1966, p. 24
Diehl, Modigliani, Ed. Flamarion, Paris, 1969, p. 92
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 153 (dated 1916)
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 199 (dated 1917)
Masheck "New York." Artforum 10, December 1971, pp. 84–85
Mellow, "Modigliani" New York Times, December 3, 1972, p. D21
Hancock, "Gallery Reviews" Arts Magazine 47, February 1973, p. 83
Musée de Art Moderne de la Ville de Paris, Modigliani exib. cat., 1981, p. 134
Roy, Modigliani, Nathan, Paris, 1985, p. 156
Hobhouse. "The World, the Flesh, and Modigliani" Connoisseur 215, 1985, pp. 5, 44–45 (Recumbent Nude, Hands behind Her Head" and dated 1917–18)
Diehl, Modigliani, Crown Publishers, New York, 1989, pp. 72, 78 (dated 1918)
Angela Ceroni, Les nus, Biblioteque des Arts, Paris, 1989, pp. 82–83 - nº 24 (dated 1917)
Rose. Modigliani: The Pure Bohemian. London, 1990, half cover (dated 1918)
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - 40/1917
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 208 (dated 1917)
Edward, Kaufman, "Perls Adds Gems to the Met" Art Newspaper no. 61, July–August 1996, p. 14
Rewald, "Recent Acquisitions. A Selection: 1996–1997", Metropolitan Museum of Art Bulletin 55 (Fall 1997), p. 73 (dated 1918)
Lieberman, Painters in Paris, The Metropolitan Museum of Art, 2000
Braun, Modigliani and His Models. Exh. cat., Royal Academy of Arts. London, 2006, p. 63 - nº 20
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Rewald, The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 174–75, 236 - nº 130
Rewald, Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 206–7, 277–78 - nº 191
The Metropolitan Museum of Art Guide. New York, 2012, p. 402
One Met. Many Worlds, New York, Metropolitan Museum of Art 2014
Brown, "The Great Beauty: Modigliani, 'Nu Couché' and the Grand Tradition of the Female Nude" Ed. Robert Brown. New York, 2015, p. 33, .p. 21
Luino. "Modigliani and the Zborowski Nudes. Ed. Robert Brown. New York, 2015, p. 64, p. 86
Calley Galitz. The Metropolitan Museum of Art Masterpiece Paintings. New York, 2016, p. 523, pl. 441
In process
Paris, Modigliani , Berthe Weill Gallery, 1917 ?
Paris, Cent Tableaux de Modigliani, Galerie Charpentier, 1958 - nº 48
Marseille, Modigliani, Musée Cantini, 1958 - nº 19
New York, Major Recent Acquisitions, Perls Galleries, 1960
New York, Amedeo Modigliani (1884 - 1920), Perls Galleries, 1963 - nº 17
New York, The Nudes of Modigliani, Perls Galleries, 1966 - nº 1
New York, Amedeo Modigliani; loan exhibition, Acquavella Galleries, Inc. 1971 - nº 37 (dated 1918 - Perls collection)
New York, Amedeo Modigliani, Perls Galleries, 1972
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981 - nº 51
Washington, Modigliani, an Anniversary Exhibition, National Gallery of Art, 1983
New York, Painters in Paris: 1895 - 1950, The Metropolitan Museum of Art , 2000- 2001
Kyoto, Picasso and the School of Paris: Paintings from The Metropolitan Museum of Art, Municipal Museum of Art, 2002 - nº 34
Tokyo, Picasso and the School of Paris: Paintings from The Metropolitan Museum of Art, Bunkamura Museum of Art, 2002-2003 - nº 34
New York, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005
Toronto, Modigliani: Beyond the Myth, The Art Gallery of Ontario, 2004 - 2005
Washington D.C., Modigliani: Beyond the Myth, The Phillips Collection, 2005
Houston, The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800 - 1920, Museum of Fine Arts, 2007 - nº 130
Berlin, The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800 - 1920, Neue Nationalgalerie, 2007
Madrid, Modigliani y su tiempo, Museo Nacional Thyssen Bornemisza, 2008 - nº 109
?
In process
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Detail of signature in visible normal light:
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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 veils mixed witht he 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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The eyes / nose of this painting reflect a style Modigliani used from the end of 1915 to the first months of 1918 but they are unique in Modigliani works
(Modigliani was doing experiments and this just means evolution):
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This painting presents holes in 3 corners, probably the other hole covered by restoration?
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The painting framed in the Perls Home in New York (ca. 1990?)
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The painting with the Perls frame:
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The painting with the actual new frame at the Metropolitan Museum:
