secretmodigliani.com
Amedeo Modigliani (Livorno, Itália [Italy], 1884 - Paris, França [France],1920)
Retrato de Leopold Zborowski [Portrait of Leopold Zborowski], 1916 - 1919
Óleo sobre tela [Oil on canvas], 100 x 65 cm
Acervo [Collection] Museu de Arte de São Paulo Assis Chateaubriand
Doação [Gift] Euvaldo Lodi, 1950
MASP.00150
Foto [Photo] João Musa
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 269 | Nº 321 | Nº 310 | YES | 9/1919 | Nº 322 | YES | YES |
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Leopold Zborowski, Paris
Netter Collection, Paris
Bignou Gallery, Paris
Reid & Lefevre Gallery, London (1928-29)
De Hauke and Co., New York (1929)
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Marlborough Gallery, London (1950)
Euvaldo Lodi Collection, Brasil (until 1950)
MASP, São Paulo, Brazil (Inv. Nº MASP.00150)
Donation by Euvaldo Lodi in 1950
In process
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Dale, Modigliani, Knopf, New York, 1929, pl. 3
De Hauke & Co. Inc., 1929. In archives as nº 3284 - acquired half with Reid & Lefevre, London - Sale price: 2.300 USD
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 43
Neugass, "Amedeo Modigliani", Deutsche Kunst und Dekoration, Jan., 1931, pp. 229-230
Darmstadt, 1931, p. 232
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1932, pl. 22
L'Italiani, Bologna, November, 1933, P. 365
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milano, 1936-XIV, pl. 23
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milan, 1942, pl. 23
Zborowski, 1945, pl. 16
Longanesi, Il mondo cambia, Milano, 1950
Cahiers d'Art, Paris, 1950, p. 186
T. Soby, Modigliani: Paintings, Drawings, Sculpture. Exh. cat., The Cleveland Museum of Art, New York, 1951
Venturi, La peinture italienne du Caravage à Modigliani, 1952, p. 156
D'Ancona, Modigliani, Chagall, Soutine, Pascin - Aspetti dell'espressionismo, Edizione del Milione, Milano, 1952, p. 13
Lipchitz, Amedeo Modigliani, H.N. Abrams, New York, 1952, p. 4
Musée de l'Orangerie, Paris, 1953, p. 75
Lipchitz, Amedeo Modigliani, H.N. Abrams, New York, 1954, pl. 26 - dated 1917 - wrong size 105 x 65
T. Soby, Modigliani, Museum of Modern art, New York, catalogue exp. 1954, pp. 37, 52- dated 1917
Descargues, Amedeo Modigliani, Braun, Paris, 1954, pl. 30
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 269 - titled Portrait of Leopold Zborowski - dated 1918 - wrong size 102 x 66
Bardi, Milano, 1956, p. 273
San Lazzaro, Modigliani-Portraits, Hazan, Paris, 1957, pl. 2 - dated 1917
San Lazzaro, Modigliani portraits, Tudor Publishing, New York, 1957, pl. 2 - dated 1917
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Zurich, 1958,. pl. 34
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 144
Russoli, Amedeo Modigliani, Silvana Editoriale d'Arte, Milano, 1958, pl. 28
Werner, Amedeo Modigliani , H. Abrams, New York 1966
Pavolini, Modigliani, Union Générale d'Éditions en accord avec l'Unesco, Milano 1966, p. 29
Menisli d'Arte, Fratelli Fabri ed. Milano, 1967
Gindertael, Shop libre diffusion, 1967, p. 58, pl. 23
Werner, Amedeo Modigliani, Garzanti, Milano 1967, p. 128
Werner, Amedeo Modigliani, Cercle d'art, Paris,1968, p. 136
Diehl, Modigliani, Ed. Flamarion, Paris, 1969, p. 75
Geza, Modigliani, Budapest, Corvina Kiadó, 1969 - nº 48
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 321 - titled Leopold Zborowski - dated 1918
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 310 - titled Leopold Zborowski seated - dated 1919
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972- nº 310 - titled Leopold Zborowski seated - dated 1919
Arno, New York, 1972, p. 36
Hubbard, Modigliani and the painters of Montparnasse, Lamplight Publ. New York, 1975, p. 42 - dated 1917 - wrong size 107 x 66
Salmon, 1976, Vol VII, p. 437
Roy, Modigliani, Nathan, Paris, 1985, p. 117
Werner, Amedeo Modigliani, Harry N. Abrams, New York, 1985, pp. 108-109 - titled Leopold Zborowski - dated 1918
Camesaca, 1987, pp. 224-225
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 211
Diehl, Modigliani, Crown Publishers, New York, 1989, p. 75 - dated 1916-1917 - wrong size 107 x 66
Buisson, La scuola di Parigi e Modigliani, Graphis Arte, 1989, p. 43
Orion Press, Tokyo, 1989 - nº 66
Parisot, Modigliani, il segno, Electa, Florence, 1990, p. 204
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990, p. 100 - nº 50
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 322 - titled Leopold Zborowski seated - dated 1919 - wrong size 107 x 66
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 9/ 1919 - titled Leopold Zborowski - dated 1919 - wrong size 107 x 66
Parisot, Modigliani, Pierre Terrail, Paris, 1992, p. 154
Kruszynski. Amedeo Modigliani: Portraits and Nudes. Munich, 1996, p. 62
Da Rosa, Modigliani, Giunti G. E, Firenze, 1996, p. 24
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002 - nº 94, pp.370-371 - titled Leopold Zborowski - dated 1919 - wrong size 100 x 64
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. 156, pl. 72 - dated 1919
López Blázquez, Modigliani, Polìgrafía, Barcelona, 2005, p. 75
Parisot, Modigliani la vita le opere, Carte Segrete / Musée du Montparnase, 2006 - nº 38
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Marini, Modigliani , Skira, France, 2008
Ireson, Fraquelli, Modigliani, London, Tate Modern, Skira Rizzoli, London, 2017, p. 192 - dated 1916-19?
In process
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London, Paintings by Amedeo Modigliani, Alex. Reid & Lefevre Galleries, 1928-29 - nº 12
Chicago, Paintings by Amedeo Modigliani, Arts Club of Chicago, 1929
New York, Paintings by Amedeo Modigliani 1884-1920, De Hauke & Co. Inc., 1929 - nº 23 (Patani say by mistake nº 17) - dated in 1918
Cleveland, Modigliani - Soutine Exhibition, Cleveland Museum of Art, 1951
New York, Modigliani - Soutine Exhibition, The Museum of Modern Art, 1951
Paris, Musée de l'Orangerie, 1953
Brussels, Palais des Beux-Arts, 1954
Utrecht, Central Museum, 1954
Bern, Kunstmuseum, 1955
London, Tate Gallery, 1954
Dusseldorf, Kunsthalle, 1954
Milano, Palazzo Reale, 1954
New York, Metropolitan Museum of Art, 1957
New York, Modigliani,1972
Liege, Modigliani exhibition. Musée Saint Georges, 1980- nº 24
Martigny, Fondation Pierre Gianadda, 1988
Martigny, Modigliani, Fondation Pierre Gianadda, 1990 - nº 105 - wrong size 100 x 64
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 82
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº 82
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 (curated by Marc Restellini) - nº 94 - dated 1919 - wrong size 100 x 64
Milano, Modigliani: l'ange au visage grave, Palazzo Reale, 2003 (curated by Marc Restellini) - nº 65 - dated 1919 - wrong size 100 x 64
New York, Modigliani: Beyond the Myth, The Jewish Museum, 2004
Toronto, Modigliani: Beyond the Myth, The Art Gallery of Ontario, 2004 - 2005
Washington D.C., Modigliani: Beyond the Myth, The Phillips Collection, 2005
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
London, Modigliani, Tate Modern, 2017-2018
In process
Nº 150 In D'Atri papers - titled Monsieur Zborowski - size 100 x 65 dated Paris 1918 - provenance in Zborowski > Netter > Bignou 1929
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Signature:
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Please take a close look to the nose where a novelty can be seen from the final years in Modigliani:
In the upper image is easy to see a fine line made in an ocher tone that is later softened and enhanced by a dotted line, this feature is made to highlight the shading.
This way of painting can be seen in the first Modigliani and until mid-1917 and then disappears and only is visible again in the last works, but in a much
more subtle and delicate way, in the upper image we have removed the skin tone leaving only the line and points to show it more clearly.
His method of painting was constantly evolving, looking back and forward.
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Detail of the ears where the drawing is clearly visible and is painted in color
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Changes after cleaning and restoration, I have no clear information but probably one or more layers of varnish were retired:
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This painting at Barnes Collection is probably a sketch face portrait for Zborowski portrait
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The painting framed in location at MASP:
The painting in location during London, Modigliani, Tate Gallery, 2017-2018:
