View allAll Photos Tagged Modigliani,
Los Angeles County Museum of Art.
Young Woman of the People
Amedeo Modigliani (Italy, Livorno, 1884-1920)
Italy, 1918
Paintings
Oil on canvas
35 1/4 x 25 1/4 in. (89.535 x 64.135 cm) Frame: 51 × 37 × 4 in. (129.54 × 93.98 × 10.16 cm)
Oil on canvas
H. 36, W. 28-3/4 inches (91.4 x 73 cm.)
Jeanne Hébuterne - Amedeo Modigliani 1919
The Metropolitan Museum of Art
1000 Fifth Avenue. New York, New York 10028 USA
Brushes app on my iThing.
20 minutes
From photos of Modigliani's paintings, mostly Jeanne Hebuterne with Hat and Necklace, 1917, and from imagination. My colors, of course, not Modigliani's.
This picture was drawn the moment before I took my chapeau off to Brushes for being part of the iPad announcement, and to Apple for at least acknowledging artists as a category by including Brushes, even if we *still* don't have a section in the App store.
I wonder if we'll end up considering iPads part of the iThing family so far as all these flickr groups are concerned, or will we need new iPad groups?
This is part of my Daily Portrait Project, in which I make a non-photographic image of myself every day and post it on the web. This series of self-portraits can be viewed in it's entirety at studiojuliakay.com/portraitproject.
São Paulo, MASP - Exhibition: PICTURE GALLERY IN TRANSFORMATION
Amedeo Modigliani (1884-1920)
Retrato de Leopold Zborowski
Leopold Zborowski
(1916-1919)
Watercolor study on paper, based on Modigliani's Lunia Czechowska.
See the original art here:
snaakks.tumblr.com/post/2921705681/amedeo-modigliani-port...
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Amedeo Modigliani - Italian, 1884 - 1920
Café Singer, 1917
East Building, Ground Level — Gallery 103-A
Shown from the knees up, a woman wearing a black dress is painted with areas of mottled color in this vertical painting. The woman’s body faces us, her shoulders sloping steeply down from her elongated neck. She sits with her hands in her lap, and she looks down and to our left. Her peach-colored, long, narrow face comes to a point at her chin, and her cheeks are flushed pink. Her almond-shaped eyes, curved brows, long nose, and closed lips are outlined with gray. Her brown hair is pulled up and back, and short bangs brush her forehead. A gold-colored disk at the point of the dress’s V-neck could be a brooch. Two parallel black lines suggest a chair rail running behind the woman’s elbows. The background is painted with visible strokes of fog gray and moss green above the rail and darker, elephant gray below. The artist signed the upper right corner, “modigliani.”
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www.nga.gov/about/welcome-to-the-east-building.html
The East Building opened in 1978 in response to the changing needs of the National Gallery, mainly to house a growing collection of modern and contemporary art. The building itself is a modern masterpiece. The site's trapezoidal shape prompted architect I.M. Pei's dramatic approach: two interlocking spaces shaped like triangles provide room for a library, galleries, auditoriums, and administrative offices. Inside the ax-blade-like southwest corner, a colorful, 76-foot-long Alexander Calder mobile dominates the sunlight atrium. Visitors can view a dynamic 500-piece collection of photography, paintings, sculpture, works on paper, and media arts in thought-provoking chronological, thematic, and stylistic arrangements.
Highlights include galleries devoted to Mark Rothko's giant, glowing canvases; Barnett Newman's 14 stark black, gray, and white canvas paintings from The Stations of the Cross, 1958–1966; and several colorful and whimsical Alexander Calder mobiles and sculptures. You can't miss Katharina Fritsch's Hahn/Cock, 2013, a tall blue rooster that appears to stand guard over the street and federal buildings from the roof terrace, which also offers views of the Capitol. The upper-level gallery showcases modern art from 1910 to 1980, including masterpieces by Constantin Brancusi, Marcel Duchamp, Sam Gilliam, Henri Matisse, Joan Miró, Piet Mondrian, Jackson Pollock, and Andy Warhol. Ground-level galleries are devoted to American art from 1900 to 1950, including pieces by George Bellows, Edward Hopper, Georgia O'Keeffe, Charles Sheeler, and Alfred Stieglitz. The concourse level is reserved for rotating special exhibitions.
The East Building Shop is on the concourse level, and the Terrace Café looks out over the atrium from the upper level.
www.theguardian.com/culture/2016/oct/03/national-gallery-...
"The structure asks for its visitors to gradually make their way up from the bottom, moving from the Gallery’s earliest acquisitions like the paintings of French Post-Impressionist Pierre Bonnard to its contemporary work, such as Janine Antoni’s much fussed over “Lick and Lather,” a series of busts composed of chocolate and soap. The bottom floors offer a more traditional viewing experience: small taupe-colored rooms leading to more small taupe-colored rooms. As one moves upward, however, the spaces open up, offering more dramatic and artful exhibition rooms. The largest single aspect of the I.M. Pei-designed building’s renovation has been the addition of a roof terrace flanked by a reimagination two of the three original “tower” rooms of Pei’s design.
On one side is a space dedicated to sculptor Alexander Calder, with gently spinning mobiles of all shapes and sizes delicately cascading from the ceiling. The subtle movements of the fine wire pieces mimic the effect of a slight breeze through wind chimes—it’s both relaxing and slightly mesmerizing, especially when we’re used to art that stands stock still. Delight is a relatively rare emotion to emerge in a museum, making it all the more compelling.
But it’s the tower space on the other side—a divided hexagonal room—that caused several visitors to gasp as I surveyed it. On one side of the division (the room you enter from the roof terrace) hang Barnett Newman’s fourteen “Stations of the Cross,” the human-sized renderings of secular suffering and pain conceived in conversation with the Bible story. Entirely black and white, with just a tinge of red in the final painting, the series wraps around the viewer, fully encapsulating you in the small but meaningful differentiations between paintings. Hung as a series, the paintings gain a narrative they might otherwise have lost.
The light edging around either side of the room’s division invite the viewer to move from Newman’s chiaroscuric works, which require you to move from painting to painting searching for the scene in each, to a mirror image of that space covered in Mark Rothko’s giant, glowing canvases, which require the viewer to step back and attempt to take in the sight of so much hazy, vivid color all at once. The dichotomy is stark, and yet the paintings all work together somehow, rather than one set repelling the other.
With light filtering through the glass ceiling above, the tower room does feel like a crescendo of sorts, but not in the way many museums’ most famous or valuable pieces often do. The room isn’t dedicated to ensuring that visitors snake their way into the belly of the museum, to first be captured and then let out through the gift shop. Instead, it’s a reminder that in a space dedicated to honoring the modern and the contemporary that the evolution of art remains just as integral as any singular Marilyn Monroe by Andy Warhol or Donald Judd aluminum box. There’s still a story in abstract art."
www.washingtonian.com/2016/09/28/national-gallery-art-eas...
Copyright © giovdim 2007. All rights reserved.
Musée d’Art moderne de la Ville de Paris ~MODIGLIANI (Oil on canvas) * giovdim
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Amedeo Modigliani - Anna Zborowska 1917
Amedeo Clemente Modigliani (July 12, 1884 – January 24, 1920) was an Italian artist who worked mainly in France. Primarily a figurative artist, he became known for paintings and sculptures in a modern style characterized by mask-like faces and elongation of form. He died in Paris of tubercular meningitis, exacerbated by poverty, overwork, and addiction to alcohol and narcotics.
_______________________________
Amedeo Clemente Modigliani (Livorno, 12 de julho de 1884 — Paris, 24 de janeiro de 1920) foi um artista plástico e escultor italiano que viveu em Paris. Um artista principalmente figurativo, ele se tornou conhecido por pinturas e esculturas em estilo moderno caracterizado por faces mascara e alongamento da forma. Morreu de meningite tuberculosa, agravada pela pobreza, excesso de trabalho, alcool e drogas (haxixe).
Oil on canvas
H. 36, W. 28-3/4 inches (91.4 x 73 cm.)
Jeanne Hébuterne - Amedeo Modigliani 1919
The Metropolitan Museum of Art
1000 Fifth Avenue. New York, New York 10028 USA
Portrait of the Painter Frank Haviland
(Ritratto del pittore Frank Haviland), 1914
Oil on cardboard, 73 x 60 cm
Gianni Mattioli Collection
Long-term loan to the Peggy Guggenheim Collection, Venice
This vivid portrait, painted in Paris in the second half of 1914, marks Amedeo Modigliani’s return to painting after a period of five years dedicated to sculpture. The sitter, Frank Burty Haviland, was a wealthy English amateur: a poet, a collector of African art, and a painter of small talent, who occupied a large studio near to Picasso’s and was known disparagingly to his friends as “Le Riche.” The red cravat and brown (velvet?) jacket, the aquiline noise, small mouth, and central parting of the hair, with curls, generate the aura of a Wildean aesthete. Standing before a window and with lowered eyes, he contemplates his pipe. Modigliani has surely elongated the curiously bell-shaped head.
Homenaje a Modigliani
1997
Exposición Retrospectiva
HERMANOS EN EL ARTE
Manuel Elías – Rolando Elías
Curaduría
Marine Velasco-Begué
Del 27 de Septiembre al 31 de octubre de 2012
MANUEL ELÍAS ROLANDO ELÍAS
AMOR FILIAL, AMOR AL ARTE
La muestra es un recorrido por un periodo de la historia del arte salvadoreño, a través de la sempiterna conversación cómplice entre los hermanos Elías, sus voces plasmadas en la obra pictórica de Manuel y en los poemas de Rolando. Una oportunidad de explorar y descubrir la obra de estos artistas y del tiempo y espacio en el cual existieron y crearon.
A través de su creación artística y de los testimonios de sus amigos, colegas, artistas contemporáneos, quienes nos cuentan anécdota, historias de la década de los 60’-70’, en la cual se departía un ambiente al estilo de los movimientos artísticos europeos, en los cafés de Paris, Viena, Praga…y en los cafés y bares del centro del viejo San Salvador: Skandia, Central, Alcázar, Bella Nápoles…un centro de actividad artístico, intelectual, delimitando entre la plaza Morazán y la Plaza Libertad.
Ambos artistas compartían la cualidad de ser observadores agudos de la realidad, en silencio y reservados, ser un observador requiere circunspección y estar fuera del protagonismo, de la luz de candilejas.
La búsqueda en Manuel de la perfección estética es patente en la ejecución de las diferentes técnicas que explora: acuarela, dibujo, pintura, escultura; experimentando con diversos materiales; piedra, madera, oleo, acrílico, tinta, y explorando el tratamiento de temas diversos: bodegones, paisajes abstractos, retaros, desnudos, flores, jardines, incluso en el diseño de muebles y artesanías.
Paralelamente a su preocupación estética en las artes plásticas, en admiración por su hermano simbióticamente, escribe y publica historias, cuentos, crítica artística, revistas y se autodenomina “escribidor”.
Consiente con su carácter reservado, retador, escribe, y a veces firma sus cuadros bajo seudónimos, con Rolando compartiendo el misterio: Juan Caminos, Genaro Rojas, Domingo Urbano y otros más…
Su compromiso y comunión con la vida de artista se manifiesta en su “activismo” por el arte y la cultura con la creación de galerías y centros culturales como la “Galería Centro” y “La Rendija”, en donde promueve y exhibe muestras de sus colegas artistas, conversatorios, lecturas de poemas, presentación de escritores, música, etc.
Además tomando parte en la formación de movimientos artísticos desde “Mancha nueva” hasta la “Real Orden de los locos de octubre”.
Los hermanos comparten trazos de carácter y temperamento: discretos, reservados, huraños. Y entretienen entre ellos una relación de simbiosis artística de complicidad creativa.
Rolando periodista en los mayores periódicos nacionales, escribe columnas, notas periodísticas, artículos y comentarios sobre arte. Pero es en la escritura de sus ensayos y poemas que excede su sensibilidad y espiritualidad: en su colección de poemas “cantata de mayo” en donde nos da testimonio de la revelación de Dios en la naturaleza. En los sonetos de “La rosa en la guerra” de su obra “La celebración de la rosa”, nos aporta otro rostro de realidad transfigurada por la emoción. En su “Homenaje a Fray Luis de León” ahonda en la atmosfera de su temperamento místico, y como varios pensadores místicos, aporta nuevos aspectos a la verdad, porque vislumbra su rostro desde diferentes ángulos. Remarcable es el hecho que escribió estos sonetos en plena guerra. Cabe citar a Octavio Paz: “la misión de la poesía es sacar a la luz lo que esta oculto en los pliegues del tiempo”.
Con esta Retrospectiva se consuma un doble objetivo, cumplir con la misión de la Sala nacional de ofrecer arte y cultura al publico salvadoreño, y apoyar el proceso de recuperar y salvaguardar la historia del arte en El Salvador.
Krishna Manuel Elías
Marlene Velasco-Begué
Curadores
Sala Nacional de Exposiciones Salarrué
Costado norte del Parque Cuscatlán, San Salvador El Salvador, Centroamérica.
Teléfono:(503) 2222-4959
Abierto de martes a domingo
9.00 a.m a 12 m - 2.00 p.m a 5.00 p.m
Lunes cerrado al público
Salanacionaldeexposiciones.sv@gmail.com
Entrada gratuita.
This is Modigliani's portrait of modernist Morgan Russell. We recently found a sketch by Russell in Taos, NM! Read about the American who traveled to Paris: d.pr/oxpr
Cagnes-sur-Mer French Riviera
is a common presenting the form of a well-wooded and park-covered urban settlement in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur Region in southeastern France. Economically it forms a suburb to the city of Nice.
Geography
It is the Largest suburb of the city of Nice and lies to the west-southwest of it, about 15 km (9.3 mi) from the center. It is a town with no high rise buildings with PARTICULARLY Many woods and parks, as to MOST icts of urban homes, in the Alpes-Maritimes department in the Provence-Alpes-Côte d'Azur
History
It was the retreat and final address of the painter Pierre-Auguste Renoir, Who Moved there in 1907 in an Attempt to Improve His arthritis, and Remained up to His death in 1919. In the late 1920s, Cagnes-sur-Mer est devenu a residence for Many renowned American literary and art figures, Such as Kay Boyle, George Antheil and Harry and Caresse Crosby. Author Georges Simenon (1903-1989), creator of the fictional detective Commissioner Jules Maigret Lived at 98, mounted of the Village in the 1950s with His third wife and Their three children; initial his "S" may still be seen in the wrought iron on the stairs.
Belarusian-French artist Chaim Soutine created Powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colorful landscapes from Cagnes from 1924 on. Fauvist painter Francisco Iturrino aussi resided in the town Where he deceased.
Bronze - 2008 - Zourab Tseretelli - peintre russe - Orangerie du Luxembourg
Chagall, Matisse, Modigliani, Picasso, Van Gogh
Portrait of the Painter Frank Haviland
(Ritratto del pittore Frank Haviland), 1914
Oil on cardboard, 73 x 60 cm
Gianni Mattioli Collection
Long-term loan to the Peggy Guggenheim Collection, Venice
This vivid portrait, painted in Paris in the second half of 1914, marks Amedeo Modigliani’s return to painting after a period of five years dedicated to sculpture. The sitter, Frank Burty Haviland, was a wealthy English amateur: a poet, a collector of African art, and a painter of small talent, who occupied a large studio near to Picasso’s and was known disparagingly to his friends as “Le Riche.” The red cravat and brown (velvet?) jacket, the aquiline noise, small mouth, and central parting of the hair, with curls, generate the aura of a Wildean aesthete. Standing before a window and with lowered eyes, he contemplates his pipe. Modigliani has surely elongated the curiously bell-shaped head.
Huile sur toile, 100 x 65 cm, 1919, musée d'Art, Sao Paulo.
Dans ce portrait, qui rappelle les masques africains ayant fasciné l'artiste par leur simplicité formelle et leur cohérence plutôt que par leur expression intense, Amedeo Modigliani semble avoir réussi à capturer l'essence de son sujet, lui-même. Il retourna même à ses racines fauves pour les teintes frappantes et si typiques de la complication tuberculeuse. Il s'inspira également des sculptures de son ami Brancusi pour la sérénité étudiée et sa capacité émotionnelle à capturer les profondeurs des ténèbres dans ces objets stylisés. Mais dans cet autoportrait de joues creusées et de lèvres scellées, il immortalise plus que son visage et peint le visage de la tuberculose. Ayant longtemps refusé toute image peinte de lui, se sentant malade, peut-être est-ce là son véritable testament ?