secretmodigliani.com
Image Courtesy of Centre Pompidou, MNAM-CCI
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 306 | Nº 379 | Nº 300 | YES | ? | Nº 311 | ? | YES |
Leopold Zborowski, Paris
Dutilleul Collection, Paris
Masurel Collection, Paris
?
Centre Pompidou - Musée national d'art moderne, Paris, France (Inv. Nº AM1994-424)
Donation 1979 - efective Donation in 1994
In process
Cocteau, Modigliani, Hazan, Paris, 1950, pl. 4
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 306 - - titled Young red haired man with gay jacket ( seated in a chair) - dated 1919 - no size
Modigliani J. , Modigliani sans légende, Gruend, Paris, 1961, pl. 8
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 379 - titled Young red haired man - dated 1919
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 300 - titled Seated young man - dated 1919 - wrong size 92 x 60 cm
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 300 - titled Seated young man - dated 1919 - wrong size 92 x 60 cm
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 311 - titled Seated young man - dated 1919
Wayne, Modigliani & the Artists of Montparnasse, Abrams-Albright-knox gallery, New York, 2002, p. 117 - nº 40
Fraquelli, Modigliani, Forth Worth and Paris, in Burlington Magazine, nº 145, 2003, pp. 254-255
Martigny, Fondation Pierre Gianadda, Modigliani et l'Ecole de Paris, June-November 2013, pp. 68-69
In process
Paris, Galerie de France, Modigliani Peintures, 1945-46 - nº 14
Paris, L'enfance, Galerie Charpentier,1949
Paris, Cent Tableaux de Modigliani, Galerie Charpentier, 1958 ???
Frankfurt, Amedeo Modigliani, Steinernes Haus, 1963 - nº 28
Tokyo, André Malraux et le Japon éternel, T Musée Idemitsu 1978 - nº 635
Paris, Masurel donation, Musée du Luxembourg, 1980 - nº 94
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981 - nº 81
Le Cateau-Cambrésis, Baigneuses et figures, Musée Matisse, 1998
Buffalo NY, Modigliani and the artists of Montparnasse, Albright-Knox Gallery, 2002-2003 - nº 40
Fort Worth, Modigliani and the artists of Montparnasse, Kimbell art Museum, 2003 - nº 40
Matsuyama, Modigliani, Picasso et leur temps - Collections du Musée d'art moderne Lille Métropole 1900-1950, The Museum of Art, 2006
Hiroshima, Modigliani, Picasso et leur temps - Collections du Musée d'art moderne Lille Métropole 1900-1950, Hiroshima Museum of Art, 2006
Akita, Modigliani, Picasso et leur temps - Collections du Musée d'art moderne Lille Métropole 1900-1950, Masakichi Hirano Museum of Fine Art, 2006
Tokyo, Modigliani, Picasso et leur temps - Collections du Musée d'art moderne Lille Métropole 1900-1950, Bunkamura Museum of Art, 2006
Kitakyushu, Modigliani, Picasso et leur temps - Collections du Musée d'art moderne Lille Métropole 1900-1950, Kitakyushu Municipal Museum of Art, 2006
Osaka, Modigliani, Picasso et leur temps - Collections du Musée d'art moderne Lille Métropole 1900-1950, Daimaru Museum Umeda, 2007
Koriyama, Modigliani, Picasso et leur temps - Collections du Musée d'art moderne Lille Métropole 1900-1950, Koriyama City Museum of Art, 2007
Hornu, Des fantômes et des anges, Musée des Arts Contemporains de la Communauté française de Belgique au Grand-Hornu, 2007 - 2008
Saint-Tropez, Amedeo Modigliani : sans légende, , L'Annonciade, Musée de Saint-Tropez, 2010
Martigny, Modigliani & the school of Paris, Fondation Pierre Gianadda, 2013 - nº 22
Pisa, Amedeo Modigliani et ses amis, BLU | Palazzo d’arte e cultura, 2014- 2015
Torino, Modigliani e la Bohème di Parigi, Galleria d’Arte Moderna, 2015
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
In process
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Detail of signature:
The signature of the painting is absolutely anomalous, it is made in black oil. with what can be seen a double signature, but in fact is just a dry bristle of the brush.
The "m" is painted in two strokes, the "o" is closed but joint to the "d", the "d" is almost closed, the "g" has body no balance and the lower body forms almost a triangle
shape (something that Restellini say is not possible and that he has never seen this feature in Modigliani's work), the "l" is extended and the "a" is open ad joint to
the "n" in upper side in a large curve (something that Restellini say is not possible and that he has never seen this feature in Modigliani's work)
The linearity of the signature is almost complete in design with a curve to the end, but of course this does not means nothing, only old fashion art historians/connoisseurs would
dare to say it's fake based on this stupid and pointless dissertation, a total nonsense.
Signatures in Modigliani have no rules and to say that there are is like saying he signed with a stamp...
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Detail of the ears where the drawing in orange is clearly visible and is detailed in color
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Same sitter as in this other painting:
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