paul guillaume by amedeo modigliani
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 40 Nº 110 Nº 100 YES 38/1915 Nº 103 YES YES
Date 1915
Title Paul Guillaume Novo Pilota
Materials Oil on cardboard (Ceroni, Parisot: canvas & Parisot later oil on canvas glued to sparewood)
Size 105 x 75 cm (Ceroni: 100 x 75)
Signature: Signed " MODIGLIANI" / and swastika symbol / 1915" bottom right - text "NOVO PILOTA with 2 lines in arrow end shape" in color white and green - Text "PAUL / GUILLAUME" in top left - Text " David's Star symbol / STELLA MARIS"
Actual Location Musée de l'Orangerie, Paris, France (Inv. Nº RF 1960-44)
  • -?-

    Paul Guillaume
    Mme. Walter (widow of Guillaume)

  • Musée de l'Orangerie, Paris, France (Inv. Nº RF 1960-44)
    Acquired 1957 - entered the museum in 1960

Bibliography -?-

Waldemar, La grande peinture contemporaine a la collection Paul Guillaume, Paris, 1929, p. 139
Georges-Michel, Les Montparnos, Paris, 1929, p. 53
Dale, Modigliani, Knopf, New York, 1929, pl. 28
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 76, nº 1
Basler, Modigliani. Editions G. Cres, Paris, 193, pl. 6
San Lazzaro, Modigliani peintures, Les Éditions du Chêne, Paris, 1947, pl. 1
San Lazzaro, Painting in France 1895 - 1949 , Harvill Press Ltd, London, 1949, p. 197
Nicholson, 1948, pl. 1
Descargues, Amedeo Modigliani. Braun, Paris, 1951, pl. 26
San Lazzaro, Modigliani peintures, Les Éditions du Chêne, Paris, 1953, pl. 1
Descargues, Amedeo Modigliani, Braun, Paris, 1954, pl. 26
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 40
Modigliani J. , Modigliani: Man and Myth, Orion Press, New York, 1958, p. 71
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958, nº 55
Gindertael, Shop libre diffusion, 1967, pl. 12
Crespelle. Modigliani, les femmes, les amis, l’oeuvre, Presses de la Cité, Paris, 1969
Ponente, Modigliani, Ed. Toray, Barcelona, 1969 - nº 20
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 110
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 100
Hubbard, Modigliani and the painters of Montparnasse, Lamplight Publ. New York, 1975, p., 22 pl. 12
Fifield. Modigliani. New York, 1976, p. 254
Guindertael, 1976, pl. 12
Warnod, La Ruche et Montparnasse. 1978, p. 76
Lanthemann-Parisot. MODIGLIANI INCONNU: suivi de précisions et documents inédits. Brescia, Shakespeare and Company, 1978, p. 58
Hall, Modigliani, Phaidon, Oxford, 1979, nº 23
Mann, Modigliani, Thames and Hudson, London, 1980, p. 117, nº 80
Musée de Art Moderne de la Ville de Paris, Modigliani exib. cat., 1981, p. 165
Hall, Modigliani, Phaidon, Oxford, 1984, nº 23
Roy, Modigliani, Nathan, Paris, 1985, p. 97
Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Editions ACR, Paris, 1987, p. 11
Hoog, Catalogue of the Jean Walter and Paul Guillaume Collection,  Editions de la Réunion des musées nationaux, Paris 1990 - nº 61
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990, p. 84 - nº 36
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 nº 38/1915
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 103
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002, pp. 234-235
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. 124, pl. 39
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Ireson, Fraquelli, Modigliani, London, Tate Modern, Skira Rizzoli, London, 2017, p. 91

in process

Exhibitions -?-

Paris, Trente ans d'Art Indépendant, Grand Palais des Champs-Elysées, 1884-1914, 1926 - nº 3102
Paris, Hommage à Paul Guillaume, Musée de Petit Palais, 1935 - nº 59
Paris, les maîtres de l'art indépendant 1895-1937, Exposition Universal, Petit Palais, 1937 - nº 70
Paris, Modigliani Peintures, Galerie de France, 1945-46 - nº 2
Paris, Cent chefs-d'oeuvre des peintres de l'école de Paris, Galerie Charpentier, 1946 - nº 61
Marseille, Modigliani, Musée Cantini, 1958 - nº 8
Paris, Cent Tableaux de Modigliani, Galerie Charpentier, 1958 - nº 25
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 31
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº 31
Melbourne, Renoir to Picasso. The masterpieces from le Musée de l'Orangerie, National Gallery of Victoria, 2001
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 43
New York, Modigliani: Beyond the Myth, The Jewish Museum, 2004
Bonn, Amedeo Modigliani: Ein Mythos der Moderne, Bundesrepublik, 2009 - nº 56 (as oil on cardboard glued to wood)
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
London, Modigliani, Tate Modern, 2017-2018

in process

Nº 268 in D' Atri papers -oil on canvas - size 105 x 74 cm. - 1915 - Guillaume Coll. by 1929





Detail of the ears where the drawing is clearly visible and is painted in color


Marc Restellini extract from a report by him will give a deeper comprehension of the private expert way of working:


The ears: When they are left exposed in female portraits (rare), they are not detailed. Even in the portraits of men, they are not the object of so much detail.

Exactly the opposite to this case, the ears are full in details, as detailed as the eyes or the hair...


The painting framed at the museum in 2016:

paul guillaume NOVO PILOTA by amedeo modigliani


In Modigliani J. , Modigliani: Man and Myth, Orion Press, New York, 1958, p. 71:

Paul Guillaume and Beatrice

In 1914 Max Jacob introduced Modigliani to Paul Guillaume.
On April 6, 1932, Guillaume wrote to Scheiwiller:
"In 1914, through all of 1915 and a part of 1916, I was the only purchaser of Modigliani, and it was only in 1917 that Zborowski became interested in him.
Modigliani was introduced to me by Max Jacob. He was then living with Beatrice Hastings, and he worked either in her house, at the painter Haviland,
in a studio that had been rented for him at 13 Rue Ravignan, or in a little house in Montmartre where he had lived with Beatrice and where he did my portrait."
The portrait of Paul Guillaume — with the words "Novo Pilota" written on the lower left-hand corner — was painted in 1915 at 13 Rue Norvins, the house where
Beatrice lived and before her, Emile Zola.

Quite interesting to see in Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002 p. 234 the next text:
" It was at 13 rue Norvins, the house of Beatrice Hastings, that Modigliani made the portrait of his first marchand...

a complete copy and paste from Jeanne Modigliani in 1958 and presented as investigation?


Sketch portrait de Paul Guillaume à mi-cuisse, Ca. 1915 at the musée de l'Orangerie

paul guillaume
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