Reclining Nude (Rome)
Oil on canvas, 1919?
Identification
- Published titles
- English: Reclining Nude (Rome); Reclining Nude; Lying Nude with Right Arm under the Head; Lying Blond Nude; Jeanne Hébuterne Nude.
- Date
- Ceroni, Patani and Parisot date the work 1919. Parisot has also printed 1918. This investigation marks the year as unconfirmed. Published dates run from 1918 to 1919.
- Medium
- Oil on canvas. Lanthemann notes an unfinished condition.
- Dimensions
- 116 × 76 cm, the size used at the Thyssen exhibition of 2008; a De Agostini caption also gives 76 × 116 cm. Pfannstiel, Ceroni and Patani print 116 × 73 cm, and a Wikimedia record of the museum object gives 73 × 116 cm. This investigation treats 73 cm as an error. Both readings are left on record.
- Signature
- Signed modigliani at top left. Pfannstiel 1956 described the painting as unsigned. This investigation asks whether the inscription is in pencil.
- Present location
- Galleria Nazionale d’Arte Moderna, Rome, inv. 5162.
Catalogue numbers
| Compiler | Number |
|---|---|
| Arthur Pfannstiel | no. 326 |
| Joseph Lanthemann | no. 380 |
| Ambrogio Ceroni | no. 325 |
| Jeanne Modigliani | YES |
| Christian Parisot | 4/1919 |
| Osvaldo Patani | no. 337 |
| Modigliani Project | ? |
| MR | YES |
| Modigliani Initiative | ? |
Legal note on MR: This investigation has not had access to MR’s catalogue raisonné; all research here is based on open sources, publications and exhibitions. By no means has that catalogue been copied at any point. Modigliani Project and Modigliani Initiative are marked YES when the work is published or otherwise recorded by those projects, even if no catalogue number is assigned; otherwise the field is marked ?.
Provenance
- Possibly Paul Guillaume, Paris (by 1929).
- Belien Collection, Brussels.
- Bührle Collection, Zurich (in 1955).
- Possibly a private collection, Nantes.
- Marlborough Gallery, London (1962).
- Galleria Nazionale d’Arte Moderna, Rome, inv. 5162.
The sequence follows the published museum, sale, and catalogue record in this investigation. Gaps and uncertain transfers are marked as such.
Selected bibliography
Book-length publications are marked with a footnote giving a full citation. Exhibition catalogues appear in both this list and the exhibition list when this investigation recorded them in both places.
- André Salmon, 1926, pl. 36.
- Giovanni Scheiwiller, Hoepli, 1927.
- Arthur Pfannstiel, 1929, pl. 122, p. 51; 1956, no. 326, as unsigned, 116 × 73 cm.
- Gualtieri di San Lazzaro, Paris, Éditions du Chêne, 1953, p. 8.
- Joseph Lanthemann, 1970, no. 380, as Lying Blond Nude, signed top left, unfinished.
- Ambrogio Ceroni, Rizzoli 1970 and French 1972, no. 325, signed top left, 116 × 73 cm.
- Christian Parisot, 1991, no. 4/1919; Pierre Terrail 1992, p. 148 (dated 1918).
- Osvaldo Patani, 1991–94, no. 337.
- Anka Kruszynski, Munich, 1996, p. 9.
- Mason Klein, 2004, p. 58.
Exhibitions
- Brussels, Palais des Beaux-Arts, 1950, no. 73; 1953, no. 35.
- Bern, Kunsthalle, 1955, no. 25 (then Bührle Collection).
- The Hague, Gemeentemuseum, 1957.
- Barcelona and Madrid (Parisot), 1983, no. 33.
- Tokyo and Nagoya, 1985, no. 123.
- Verona, Palazzo Forti, 1988.
- Martigny, Fondation Pierre Gianadda, 1990, no. 119 (dated 1918).
- Madrid, Museo Nacional Thyssen-Bornemisza, 2008 (this investigation’s first published reading of 76 × 116 cm).
- Turin, GAM, 2015.
Notes
D’Atri papers no. 249, as unsigned, 73 × 116 cm, dated 1919, provenance Guillaume 1929.
This investigation treats the painting as probably unfinished and groups it with two other versions of the same composition.
The original page of this investigation marked several fields as still being checked. The facts above are those already published; where the sources disagree, both readings are given.
