kisling atelier
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Date 1918?
Title Kisling atelier
Materials Oil on canvas
Size 66 x 63.5 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 Fine Art Foundation, Switzerland?
Provenance -?-

Fine Art Foundation, Switzerland?

In process

Bibliography -?-


In process

Exhibitions -?-

Bari, A. Modigliani, Jeanne Hébuterne e gli artisti di Montmartre e Montparnasse, Castello Svevo, 2003 (curated by Christian Parisot)
Caserta, A. Modigliani Jeanne Hébuterne e gli artisti di Montmartre e Montparnasse, Belvedere Reale di San Leucio, 2003 (curated by Christian Parisot)
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, 2012 (curated by Christian Parisot)
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
Seoul, Amadeo Modigliani: Legend of Montparnasse, Hangaram Museum of Seoul Art Center, 2015
Genova, Modigliani, Palazzo Duccale, 2017 - nº 37

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)

The oil painting on canvas offers a glimpse of Kisling's study. On the table a glass of wine, a vase with
used brushes, two apples with a knife, a pipe resting on an ashtray, a bottle containing a
amber liquid with a glass stopper, a bunch of French cards.
Inserted forcibly into the composition on the right of the table, a caryatid head, on a cubic base,
badly imitated imitation of one of Modigliani's sculptures and on the left a painting, resting in the balance on the
table top and supported by the back wall, depicting the "Crouched Nude" of 1917 attributed to
Modigliani, deformed in its components (published in the catalog of the Palazzo Ducale exhibition a
Genoa on page 94/95).
The sculpture that would like to be the scenic backdrop of the composition is deformed both in the structure of the
pedestal on which it does not rest, which in the plastic representation: the neck is volumetrically flattened
(architectural stele), like the face and headgear that completes and wraps the head. He wants to be a replica
of the Head in limestone present at the Solomon R. Guggenheim Museum in New York.
The two components of the painting were made by two different hands, not attributable to Modigliani or to Kisling.
The forced inclusion of the Modigliani signed painting and the sculpture are inserted as collages in the composition.
The pictorial layout of the composition, although effective, cannot be traced back to Kisling's hand.
The Kisling and Modigliani signature are false, veiled by a patina of white zinc (the white of zinc is transparent, while titanium
white is opaque).

The canvas is attached to the frame with the spreaders and to prevent the movement of the canvas inside the frame cork shims
have been glued.

On the reverse the usual cover of "carton plum" to conceal the manufacture of the painting.
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.

  This page is a work on progress, nothing in this page should be considered as final or definitive.