View allAll Photos Tagged Modigliani,
Installation view of the exhibition “Modigliani Unmasked.” September 15, 2017 – February 4, 2018. The Jewish Museum, NY.
Photo by: Jason Mandella
Una característica de las pinturas de Modigliani (1884-1920), suave y delicado, es la estilización de las formas planas y proporciones largas.
Sus imágenes más bellas son las de desnudos femeninos. Estas Venus modernas con cuerpos estilizados prestan un elegante, delicado toque a su erotismo.
La transferencia de sus cuadros a la escultura transmite el mismo sentido plástico de la abstracción. Las manchas de colores limpios y brillantes se prestan aún más expresiva intensidad a la obra. Desnudos, que en ese momento escandalizado la sociedad, son llevados por Orejudo a los tiempos modernos, que nos da todo el esplendor del arte en su forma más pura.
Relieve en Alabastro Moldeado. Policromía al óleo. Pátina antigua.
76 cm alto, 118 cm ancho, 3 cm fondo
Autor: Enrique Orejudo Alonso
#orejudo
Ligabue
Mondovisione Tour
Ligabuevoce, chitarra
Federico Poggipollini,
Niccolò Bossini,
Max Cottafavi,
Michael Urbano,
Davide Pezzin,
Luciano Luisi
26 marzo 2015 - Modigliani Forum - Livorno
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© 2015 sebastiano bongi toma - Ramingo-
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Please don't use photos without my permission
Le Jeune apprenti
Amedeo Modigliani, Italian
b. 1884 Livorno, Italy; d. 1920 Saint-Étienne, France
Musée de l'Orangerie
Paris
DSCF8229
Piazza Modigliani 104
47522 - Pievesestina di Cesena
Tel.+39 0547.313007
Fax.+39 0547.317675
una.cesenanord@unawayhotels.it
At our Modigliani Family Day, families celebrated the striking work of iconic Italian-Jewish artist Amedeo Modigliani with collage portraits, face painting, and the swinging sounds of Jo-Jo and the Pinecones. Photo by: Matthew Carasella.
Ligabue
Mondovisione Tour
Ligabuevoce, chitarra
Federico Poggipollini,
Niccolò Bossini,
Max Cottafavi,
Michael Urbano,
Davide Pezzin,
Luciano Luisi
26 marzo 2015 - Modigliani Forum - Livorno
follow me on
© 2015 sebastiano bongi toma - Ramingo-
All rights reserved
Please don't use photos without my permission
At our Modigliani Family Day, families celebrated the striking work of iconic Italian-Jewish artist Amedeo Modigliani with collage portraits, face painting, and the swinging sounds of Jo-Jo and the Pinecones. Photo by: Matthew Carasella.
Amedeo MODIGLIANI
Paul Guillaume, Novo Pilota (détail)
Paris, musée de l'Orangerie
莫迪里安尼畫作 「保羅‧吉翁先生肖像」
1. Art Journal Cover - front, 2. Modigliani inspired, 3. 07.18.11 step4, 4. 30 days: day#19, 5. Art journal, 6. 3 hearts art journal, 7. 07.20.11, 8. BLISS art journal page, 9. Thank You Paintings, 10. Art journal, 11. lugano artjournal 2011-07 #021, 12. Thistle & Weeds - art journal page, 13. The Chronicles of Marit 2011 - week 18, 14. "Okay To Show Or Share", 15. art journal :: head in the clouds, 16. bw page101 art journal, 17. Art Journal Page Peek, 18. Art Journal, 19. Art Journal January 2009, 20. Art Journal LOVE, 21. Art Journal LOVE, 22. inside pages upcycled stitched mini journal, 23. art journal :: all you need is lOvE, 24. daily art journal for march, 25. Art Journal January 2009, 26. life bits, 27. Art journal page - 'To set out ... ', 28. Art Journal Page, 29. "The Dogs Are Sleeping" art journal page, 30. Art Journal Page, 31. impossible art journal page 6, 32. art journal, 33. art journal :: be the change you wish to see ine the world, 34. art journal page 13, 35. journal page 1.18.09, 36. Art Journal page - ready for some journaling!
please note: these credits MUST remain with this mosaic. it is unfair to artists (as well as illegal) to share their work without acknowledgement.
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...
Ligabue
Mondovisione Tour
Ligabuevoce, chitarra
Federico Poggipollini,
Niccolò Bossini,
Max Cottafavi,
Michael Urbano,
Davide Pezzin,
Luciano Luisi
26 marzo 2015 - Modigliani Forum - Livorno
follow me on
© 2015 sebastiano bongi toma - Ramingo-
All rights reserved
Please don't use photos without my permission