secretmodigliani.com
Image Courtesy of the Yale University Art Gallery
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| NO | Nº 333 | Nº 224 | YES | 9/1918 | Nº 234 | YES | YES |
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Leopold Zborowski., Paris
Bing et Cie, Paris (1929)
Cornelius J. Sullivan Collection, New York;
Kate Lancaster Brewster Collection (1935 to 1948)
Yale University Art Gallery, New Haven, Connecticutt, USA (Inv. Nº 1948.123)
Bequest of Kate L. Brewster in 1948
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In process
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Ceroni, Amedeo Modigliani : dessins et sculptures ; avec suite du catalogue illustre des peintures, Edizioni del Milione, Milano, 1965 - nº 216
Forster-Hahn, French and School of Paris Paintings in the Yale University Art Gallery, Yale University Press, 1968
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 333 - title Tete de jeune fille de profil - dated 1918
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 238 - dated 1918 - nº 224 - title Head of Jeanne Hébuterne in profile- dated 1918
Diehl, Modigliani, Ed. Flamarion, Paris, 1977, p. 77
Diehl, Modigliani, Crown Publishers, New York, 1989
Orion Press, Tokyo, 1989 - nº 65
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990, p. 123 - nº 72
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 234 - as Jeanne Hébuterne in profile - dated 1918
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 9/1918 as Portrait de Jeanne Hébuterne in profile
Wayne, Modigliani & the Artists of Montparnasse, Abrams-Albright-knox gallery, New York, 2002, p. 71
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. IX
Restellini, La Collection Jonas Netter, Pinacotheque de Paris, 2012, mention in p. 336
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Ireson, Fraquelli, Modigliani, London, Tate Modern, Skira Rizzoli, London, 2017, p. 181
Bezur, Campos, Centeno, Duvernois, Josenhans, Londero, Gonçalves, Rizzuto, Schwarz, The Modigliani Technical Research Styudy, Modigliani’s late portraits, The burlington Magazine, London, May 2018, p. 401 -404
In process
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Paris, Modigliani, Galerie Bing et Cie, 1925 - nº 9
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Boston. Modigliani: Paintings and Drawings. Exh. cat., Museum of Fine Arts, 1961 - nº 31 as Mme. Modigliani with long hair
Los Angeles. Modigliani: Paintings and Drawings. Exh. cat., Los Angeles County Museum, 1961 - nº 31 as Mme. Modigliani with long hair
Tokyo ,Love and Nostalgia for Montparnasse, Daimaru, 1979 - nº 20
Osaka,Love and Nostalgia for Montparnasse , Daimaru, 1979 - nº 20
Liege, Modigliani exhibition. Musée Saint Georges, 1980 - nº 17
Tokyo, Modigliani exhibition, National Museum, 1985 - nº 110
Nagoya, Modigliani exhibition, Aichi Prefectural Art Gallery, 1985 - nº 110
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 63
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº 63
Toronto, Modigliani: Beyond the Myth, The Art Gallery of Ontario, 2004 - 2005
Washington D.C., Modigliani: Beyond the Myth, The Phillips Collection, 2005
London, Modigliani, Tate Modern, 2017-2018
In process
Not in D' Atri papers?
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This painting presents holes in the 4 corners
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Detail of signature in visible normal light:
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The painting framed a London, Modigliani, Tate Gallery, 2017:
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There are 3 paintings very similar in size and composition
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The painting was fully analyzed during the The Modigliani Technical Research Study, Modigliani’s late portraits, The Burlington Magazine, London, May 2018 with the
companion of the other similar composition and the results showed various corrections, the holes in the canvas, the paining method and the presence of pigments concordant
with the known Modigliani Palette.
In resume the main identified colors/pigments in both portraits are:
1.- Lead White
2.- Zinc white
3.- Chrome orange
4.- Ochre (Brown Ochre / Yellow Ochre)
5.- Vermilion
6.- Bone black
7.- Cadmium yellow
8.- Calcite
This does not means that a painting has to present the 8/10 pigments, it was his palette at that time in 1918.
(the Zinc white for instance is only found in the preparation layer and the Ochers also the Calcite in the support)
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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