secretmodigliani.com
Image courtesy of Dallas Museum of Art
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 170 | Nº 370 | Nº 255 | YES | ? | Nº 268 | YES | YES |
?
Léopold Zborowski, Paris
?
Menier Collection, Paris
?
Sale: Christie's , London, 2 / 12 / 1975
Acquavella Galleries, New York?
Leland Fikes Collection, Dallas
Leland Fikes Foundation, Inc.
Dallas Museum of Art, Dallas, USA (Inv. Nº 1977.1)
Gift to DMA in 1977
In process
Deutsche Kunst und Dekoration, Gemälde von Modigliani, Verlagsanstalt Alexander Koch, XXVIII - July 1925, p. 207
George, Modigliani, l’amour de l’art, Paris, 1925
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 27
Franchi, Modigliani, Arnaud, Firenze, 1946, pl. 23
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 170 (size wrong 92 x 60, dated 1917)
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 -nº 370 (dates in 1919)
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 255 (dated in 1918)
Wayne, Modigliani & the Artists of Montparnasse, Abrams-Albright-knox gallery, New York, 2002 - nº 25, p. 102 (dated 1918)
Fraquelli, Modigliani, Fort Worth and Paris, in Burlington Magazine, nº 145, 2003, pp. 254-255.
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. 144, pl. 60
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Ireson, Fraquelli, Modigliani, London, Tate Modern, Skira Rizzoli, London, 2017, p. 163
In process
?
Dallas, Dallas Collects: Impressionist and Early Modern Masters: An Exhibition Celebrating the Seventy-Fifth Anniversary of the Dallas Museum of Fine Arts, 1978, p. 51 - nº 88
Buffalo NY, Modigliani and the artists of Montparnasse, Albright-Knox Gallery, 2002-2003 - nº 25
Fort Worth, Modigliani and the artists of Montparnasse, Kimbell art Museum, 2003 - nº 25
Toronto, Modigliani: Beyond the Myth, The Art Gallery of Ontario, 2004 - 2005
Washington D.C., Modigliani: Beyond the Myth, The Phillips Collection, 2005
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
In process
Not in D' Atri papers
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The painting presents holes in 4 corners
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
the signature of this work could be absolutely compromised under the aspect of the classic historian, a serious graphologist analysis would say that it does
not present the slightest doubt about its author comparing it with other similar firms, but under the prism of a connoisseur it would be immediately labeled as false.
The signature has a double line, there are two signatures or that is what it might seem at first, surely it is a hair of the brush that was out of position or for those who
do not like this explanation, the artist decided to review his signature?
The signature of the painting is absolutely anomalous, it is made in black oil and the "m" is made in 2 traces, the "o" is closed, the "d" is open, "igliani" is in a continuous line.
The "g" makes a lower body nos compensated. The linearity of the signature is complete in design, but of course this does not means nothing, only old fashion art historians/connoisseurs
would dare to say it's fake based on that stupid and pointless dissertation, a total nonsense.
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Modigliani's brushwork is present in all its typical manifestations, sometimes where it is expected and others in strange places but there is no doubt that all
his tricks with the brush can be seen throughout the painting.
Detail of the brushwork:
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The nose and eyes of this work are an absolute mystery, on the one hand they would be totally classic within the production of 1918-19 but the combination of
shadow with color and shadow with black and the general configuration of the eyes takes us more to works later in time, it is most likely that the artist decided to
make use of a random type of painting, one sees its evolution but also its history, on the one hand they can be considered anachronistic in their evolution but
they are absolutely Modigliani in their general configuration.
Detail of the hands that are absolutely coincident with the works of his final period.
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Detail of the ears where the drawing is clearly visible and is painted over the color (on top of the color)
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The painting framed at Dallas in 2018:
:
-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
In the back of the head we can see what seems to be a black cloth that could perfectly be the final loose part of a bow that could lead one to think that it is not a portrait of a boy,
rather of a girl, but no expert has mentioned it and in the oldest publication in 1925 the painting is already mentioned as a portrait of a young boy.
If we continued the loop as if the head were transparent and based on the Italian woman or paintings with the same element would be more or less like this:
This would be totally coincident with the black shadow that can be seen to the left of the head
and the black line that seems to disagree with the rest on the upper right side of the head.
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The painting presents some of the typical and classic examples or tricks of the handling of oil by Modigliani, like the dislocated hair to the
right of the head , something absolutely classic in Modigliani and his way of pushing out the figure to the viewer.
Hair dislocated:
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Detail of the back of the canvas - courtesy of DMA:
In the upper left side we can find the export stamps used by the Paris customs:
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Based on the high resolution picture there is a complete set of fingerprints in the upper right with at least 4 fingers? - courtesy of DMA:
------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Extract from Le Monde newspaper 27th May 2016
The Institut Restellini, undertaking a catalogue raisonné of the painter’s works, has given its verdict: the sitter in the painting is Georges Menier. This famous manufacturer,
the eldest of the fourth generation of well-known chocolate makers, mayor of Lognes (Seine-et-Marne) for thirty years and acknowledged composer, frequented the artistic elite in Paris.
Art historian Marc Restellini confirms that he found traces related to the painting in the Menier Archive in the Musée d’Orsay and according to the memories of the wife of Modigliani’s last dealer,
Anna Zborowska.
James Palmer, the famous investigator of looted artworks behind the legal proceedings, specifies “Philippe Maestracci confirmed to us that his grandfather Oscar Stettiner was friends with Georges Menier”.
A further point is that Modigliani painted a portrait of Simonne Menier, Georges’ wife, in 1919. It is therefore highly likely that the two paintings, of Georges, believed to date back to 1918, and of Simonne,
were painted around the same time.
Madame Menier (the mother of this child?)
Mme. Menier, dated in 1918
Mr. Menier (the father of this child?)
But the photo is the same as the daughter or Rachele Osterlind ?
I really have to investigate it deeply...