secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| NO | Nº 396 | Nº 314 | YES | 22/1919 | Nº 326 | ? | ? |
Leopold Zborowski, Paris
Dutilleul Collection, Paris
?
Private Collection?
In process
?
Lassaigne, Cent Chefs d'oeuvre des peintres de l'Ecole de Paris, Galerie Charpentier, Paris, 1947, p. 122
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milan, 1950, pl. 33
Fels, 1956 - nº 11q
Roy , Modigliani, Skira, Lausanne, 1958, p. 107
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 149
Gindertael, Shop libre diffusion, 1967, p. 62, pl. 36
Diehl, Modigliani, Ed. Flamarion, Paris, 1969, p. 86
Geza, Modigliani, Budapest, Corvina Kiadó, 1969 - nº 47
Ponente, Modigliani, Ed. Toray, Barcelona, 1969 - nº 72
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 396 - titled La Zborowska - dated 1919
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 314 - titled Hanka Zborowska seated - dated 1919
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 314 - titled Hanka Zborowska seated - dated 1919
None, Modern Art, Peebles Art Library, New York, 1974, p. 32
Hubbard, Modigliani and the painters of Montparnasse, Lamplight Publ. New York, 1975, pl. 36, p. 46
Diehl, Modigliani, Ed. Flamarion, Paris, 1977, p. 86
Mann, Modigliani, Thames and Hudson, London, 1980, p. 190 - nº 139
Musée de Art Moderne de la Ville de Paris, Modigliani exhib. cat., 1981, pp. 38- 41, 160
Roy, Modigliani, Nathan, Paris, 1985, p. 138
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 213
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 22/1919 - titled Madame Hanka Zborowska - dated 1919
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 326 - titled Hanka Zborowska seated with hands joint - dated 1919
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Ireson, Fraquelli, Modigliani, London, Tate Modern, Skira Rizzoli, London, 2017, p. 191
In process
?
Venezia, Mostra retrospettiva di Modigliani – Curated by Lionello Venturi - Biennale di Venezia , Sala XII degli Appels d'Italie, 1930 - nº 20
Paris, loan Musée Jeu de Paume, 1933
Paris, Modigliani Peintures, Galerie de France, 1945-46 - nº 35
Paris, Cent Chefs d'oeuvre des peintres de l'Ecole de Paris, Galerie Charpentier, 1946
Paris, Cent Tableaux de Modigliani, Galerie Charpentier, 1958 - nº 99
Paris, Modigliani, Musée de Art Moderne de la Ville de Paris, 1981 - nº 87
London, Modigliani, Tate Modern, 2017-2018
In process
Not in D'Atri papers
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Extract t from Suzy Delburgo & Lola Failant-Dumas study during the Paris 1981 Exhibition (pp. 20-47):
With Hanka Zborowska with folded hands (Nº 18) and the Woman with a fan (n ° 100), Modigliani reaches the summit of a technique of its own: adorning it,
line, transparency of tones reach th perfection.
'These two works have very similar characteristics: they are painted on supports in extremely fine and tight cotton canvas (36 weft threads by 34 warp threads per cm2).
these supports show, on radiography, large rounded areas of greater opacity which can only be explained by irregularities in the commercial preparation of the canvases
made with lead white, so the two canvases appear to come from the same piece, irregularly prepared.
In addition, the pictorial technique of the two works is extremely close. The line of the drawing, a real ara-need of a single jet, synthetic, is of a confounding safety. The low
density of the radiographic image indicates that to color these diaphanous bodies, light materials, devoid of lead white, placed in a very dilute layer, were used.
The touch is similar to the previous portraits, a little more elongated, but broad and fluid to accentuate the harmony and the subtlety of the tones, the elegance of the forms (fig. 19).
However, the portrait of Hanka Zborowska seems to have been more worked than that of the Woman with the Eventail.
On the latter, in fact, the preparation of the details of the face does not appear, contrary to what is always found in Modigliani. Perhaps one could conclude either with a deliberately
growing stylization, or more probably with a portrait not completed by the painter and which would have been finished after his death.
X-ray image:
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Signature of the painting:
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Detail of the ear where the drawing is clearly visible and is painted over the color (on top of the color)
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The painting visible at the Venezia, Mostra retrospettiva di Modigliani – Curated by Lionello Venturi - Biennale di Venezia , Sala XII degli Appels d'Italie, 1930 - nº 20:
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The painting visible at the Modigliani room at the Jeu de Paume museum in Paris in 1933:
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The painting framed at the London, Modigliani, Tate, 2017-2018:
