kisling atelier
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Date 1918?
Title Kisling atelier
Materials Oil on canvas
Size 55 x 77 cm (in Prof.ssa Isabella Quattrocchi dossier)
Signature: Signed "kisling" bottom right - signed "modigliani" bottom left (Parisot say is made by both hands Modigliani and Kisling)
Actual Location Private Collection, Europe?
Provenance -?-

Private Collection, Europe?

In process

Bibliography -?-


In process

Exhibitions -?-

Taiwan, Modigliani and his circle, Kaohsiung Museum of fine Arts, 2011, curated by Christian Parisot and Beatrice Hsieh
Vitoria, "Modigliani - Imagens de uma vida", Palácio Anchieta,Curator Christian Parisot, 2012
Rio de Janeiro, "Modigliani - Imagens de uma vida", Museu Nacional de belas Artes, Curator Christian Parisot, 2012
São Paolo, "Modigliani - Imagens de uma vida" , Museu de arte de Sao Paolo, Curator Christian Parisot, 2012
Curituba, "Modigliani - Imagens de uma vida", Museu Oscar Niemeyer, Christian Parisot, 2012
Genova, Modigliani, Palazzo Duccale, 2017 - nº 38

In process

Not in D'Atri papers


The painting was seized by the police after a report by C. Pepi an Italian connoisseur and finally this is the conclusions of the investigation:


Conclusion of the Prof. Isabella Quattrocchi (- JUST A COPY- TRANSLATE - PASTE of her report)

Oil painting on canvas depicting the artist's work table with the confusion of brushes, pipes
pigment, paint cans, solvents, rags to clean brushes, sheets of paper with color proofs. To the
center on the bottom of the table emerges the semblance of a sculpture depicting approximately the
face of one of the caryatids made of stone by Modigliani, while this would seem to be made of plaster and
forcibly inserted on the table top without making the stability of the base of the sculpture.
The painting is realized in two hands, one has painted the unlikely image of the worktop (out of use) by
one artist and the other tried to depict one of the Caryatid heads (drawn several times, studied
geometrically, defined volumetrically and only at the end sculpted in limestone by Modigliani)
without being able to give her the stability of a sculptural image, of the material used and of the artifact
finished plastic
Also in this case the part that should be attributed to Kisling is performed with a certain effect
scenographic, while the one who created the sculpture is of an amateur, without any artistic vein.
This work is also signed by both artists with uncertainty and approximation. The Kisling signature e
that of Modigliani have been veiled by a patina of white of zinc (the white of zinc is transparent,
while titanium white is opaque). The signatures are false.
At versa the usual cover of "carton plum" to hide the artifice of the falsification of the work.
The work is false.


I am not the person to say if this work is original or fake, but this report is absolutely naive & silly.
With this I do not say the work is genuine or fake, I personally don't like not even a single brush, but it does not mean that my taste make the difference.
All the experts claiming to destroy this or other works should be aware that under the same rules many of the works they present at many exhibits will also be in the same position in a future.


I would only add this 3 points:

1.- Art even if false is not forged NIKE sport shoes, so to destroy it is an absurd mistake that place art even if original at the same level of value as a NIKE sport shoes.

2.- The damage to the art experts claim to solve by destroying works is in terms of market not of Knowledge, stamp it in the back as false and do not destroy nothing, just in case we are wrong.

3.- I hope the painting is finally returned to the owners, even if fake, stamp it and return it.

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