Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
NO Nº 183 Nº 97 YES 36/1915 Nº 100 YES YES
Date 1915 - 1917?
Title Chaïm Soutine
Materials Oil on cardboard (Ceroni , Parisot: oil on canvas - Wayne: wood - Museum: wood - Restellini - Parisot later say wood)
Size 36 x 27.5 cm ( Ceroni, Parisot: 38 x 28)
Signature: Signed "modigliani" top right and the text "SOUTINE" top left
Actual Location Staatsgalerie Stuttgart, Germany (Inv. Nº 2559)
  • -?-

    Private Collection, Oslo
    Staatsgalerie Stuttgart, Germany (Inv. Nº 2559)
    Acquisition 1959

    In process

Bibliography -?-

Russoli, Amedeo Modigliani, Fratelli Fabbri, Milano, 1963, pl. 6
Ceroni, Amedeo Modigliani : dessins et sculptures ; avec suite du catalogue illustre des peintures, Edizioni del Milione, Milano, 1965, p. 170
Gindertael, Shop libre diffusion, 1967, pl. 10
Diehl, Modigliani, Ed. Flamarion, Paris, 1969, p. 43
Ponente, Modigliani, Ed. Toray, Barcelona, 1969 - nº 28
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 183 (dated as from 1917)
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 97
Hubbard, Modigliani and the painters of Montparnasse, Lamplight Publ. New York, 1975, p. 20, pl. 10
Diehl, Modigliani, Ed. Flamarion, Paris, 1977, p. 62
Lanthemann-Parisot. MODIGLIANI INCONNU: suivi de précisions et documents inédits. Brescia, Shakespeare and Company, 1978, p. 47
Mann, Modigliani, Thames and Hudson, London, 1980, p. 123 - nº 85
Zurcher, Modigliani, Ed. F. Hazan, Paris, 1980 - nº 12
Carluccio, Leymarie, Negri, Russoli, Brunhammer, École de Paris, Rive Gauche, Paris, 1981, p. 208
Hall, Modigliani, Phaidon, Oxford, 1984 - nº 25
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 99
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990, p. 97 - nº 47
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 nº 36/1915
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 100
Krystof, Amedeo Modigliani: The Poetry of Seeing, Taschen, Cologne, 2000, p. 47
Wayne, Modigliani & the Artists of Montparnasse, Abrams-Albright-knox gallery, New York, 2002, p. 82
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, p. 43
Fraquelli, Modigliani, Fort Worth and Paris, in Burlington Magazine, 145, 2003 pp. 254-255.
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007

in process

Exhibitions -?-

Paris, Cent Tableaux de Modigliani, Galerie Charpentier, 1958 - nº 41 -dated in 1917
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 26
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº 26
Buffalo NY, Modigliani and the artists of Montparnasse, Albright-Knox Gallery, 2002-2003 - nº 5
Fort Worth, Modigliani and the artists of Montparnasse, Kimbell art Museum, 2003 - nº 5
Los Angeles, Modigliani and the artists of Montparnasse, Los Angeles County Museum of Art, 2003 - nº 5
Bonn, Amedeo Modigliani: Ein Mythos der Moderne, Bundesrepublik, 2009 - nº 47
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

Not in D'Atri papers


Signature of the painting:



Detail of the ears where the drawing is clearly visible and is painted over the color (on top of the color)



Image of the painting framed at the Lille exhibit in 2016:

soutine portrait at the lille exhibit in 2016


Marc Restellini say there is no cardboard in Modigliani's oeuvre after 1915 and that everything done later in cardboard is fake but again he
informs in many publications about this painting even if its made in cardboard and dated recently in 1917 , a nonsense.

This extract from a report by him will give deeper comprehension of the private expert way of working:
4 / Study of support and technique
a) The cardboard as a support for the works of Amedeo Modigliani
Modigliani used cardboard as a medium for thirty works. In 1915, he made 14 works of this type, and this is the last year in which he uses this medium.
From 1916, Modigliani never uses this medium because it is supported by the merchants Paul Guillaume (whose personal collection was given to the French
State and is exposed at the Musée de l'Orangerie in Paris) and Leopold Zborowski. It is thus supplied in canvases by these merchants and therefore no longer
needs to use poor media such as cardboard.

This support does not exist at Modigliani after 1915.

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