View allAll Photos Tagged Modigliani
this girl looks exactly like a painting by modigliani.
>>he was an Italian painter and sculptor 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.<<
Amedeo Modigliani (Livorno, 1884 - Paris, 1920) Portrait of Jeanne Hébuterne (1919)
Nueva York, The Metropolitan Museum of Art (MET)
East German postcard by VEB Progress Film-Vertrieb, Berlin, no. 146, 1956. Photo: Gerhard Kiesling. Caption: Gérard Philipe gives autographs during his visit to Berlin.
The legendary idol of the French cinema Gérard Philipe (1922–1959) was adored for his good looks, but he was also a very talented actor. He played roles as diverse as Faust and Modigliani and he was sought out by France's preeminent directors for his versatility and professionalism.
Gérard Philipe (sometimes written as Philippe) was born Gérard Philip in Cannes, France in 1922. In 1940, Gérard left school and his parents wanted him to become a lawyer. His mother noticed that he was only interested in acting, but his father was against the idea. Gérard's father, a successful businessman, was a right-wing extremist and collaborated with the Nazis. After the war, he was forced to exile to Spain to escape a death sentence. Gérard himself was his whole life a staunch social liberal politically wise. Actor Claude Dauphin introduced the young Philipe in 1942 to the stage. One of his first parts was as the angel in 'Sodome et Gomorrhe' by Jean Giraudoux in 1943. Director Marc Allégret decided that he showed some promise and gave him a small part in his film Les petites du quai aux fleurs/The Girls From the Quai aux Fleurs (Marc Allégret, 1944) starring Odette Joyeux. With the support of his admirer Jean Cocteau, he entered the Paris Conservatory where under the tutelage of Georges Le Roy he discovered his passion for live theatre. In 1945 he received rave reviews for his performance in the stage production of Albert Camus’ 'Caligula'. This success further opened the doors to the cinema. His first leading part in Le pays sans étoiles/Land Without Stars (Georges Lacombe, 1946) opposite Jany Holt got so many favourable reviews that he became a star.
In 1947, Gérard Philipe exploded upon the European film scene in Le diable au corps/Devil in the Flesh (Claude Autant-Lara, 1947), playing Francois Jaubert, a callow youth in love with much older and very married Micheline Presle. Superstardom followed almost immediately: female filmgoers doted upon Philippe's sensitive, handsome features and strapping physique, while men identified with his soulfulness and introspection. Next, he would take on prominent roles in such classic films as Une si jolie petite plage/Such a Pretty Little Beach (Yves Allégret, 1949), and La beauté du diable/Beauty and the Devil (René Clair, 1950) as Faust. He was an international success as the tongue-in-cheek titular swashbuckler Fanfan la Tulipe/Fan-Fan the Tulip (Christian-Jaque, 1952), one of the most popular historical-adventure films made in France. At Films de France, James Travers reviews: "Not only is the film impeccably made, with lavish production values, stunning cinematography and impressively choreographed fight scenes, but it has a timeless quality which will no doubt ensure it will remain a popular classic for years to come. Philipe excels in this film in what is regarded by many as his finest film role, the indefatigable womaniser and agile swordsman Fanfan la Tulipe. Philipe is simply brilliant in the role, tackling the numerous swordfights and Henri Jeanson’s sparkling dialogue with equal relish." He appeared with such great stars of the European cinema as Italian beauty Gina Lollobrigida in Les belles de nuit/Beauties of the Night (René Clair, 1952), with Michèle Morgan in both Les orgueilleux/The Proud Ones (Yves Allégret, 1953) and Les grandes manœuvres/The Grand Maneuver (René Clair, 1955). In 1956, Philipe starred in and directed a filmization of the old folk tale Till Eulenspiegel, Les Aventures de Till L'Espiègle/Bold Adventure (Gérard Philipe, Joris Ivens, 1956). The French-East-German coproduction was not a success. He simultaneously pursued his stage career, with a keen involvement in the Théatre National de Paris, which would endure up until his death. Whilst working at the TNP, Philipe, a strong believer in egalitarianism, would draw exactly the same salary as junior actors. He would also become president of the French actors union, actively promoting the rights of actors.
Gérard Philipe continued his string of film successes throughout the 1950s. Among these films were the Fyodor Dostoevsky adaptation Le joueur/The Gambler (Claude Autant-Lara, 1958) with Liselotte Pulver, and Les liaisons dangereuses/Dangerous Liaisons (Roger Vadim, 1959) opposite Jeanne Moreau. In 1959 doctors told Philippe that he had liver cancer. On 25 November that year, while working on Luis Buñuel's Le Fievre Monte a El Pao/Fever Mounts at El Pao (Luis Buñuel, 1959), he died at the peak of his popularity. He was just 36 years old. The news provoked an immediate and intense outpouring of grief. His early death elevated him to a near-legendary status in France. Since 1951, Philipe was married to actress and writer Nicole Fourcade, with whom he had two children, writer and actor Anne-Marie Philipe (1954) and Olivier Philipe (1957). Nicole adopted the pseudonym Anne Philipe and wrote two books about her husband, Souvenirs (1960) and Le Temps d'un soupir (1963, No Longer Than a Sigh). In 1961, Gérard's portrait appeared on a French commemorative postage stamp. There is a film festival named in his honour as well as a number of theatres, schools and colleges in various parts of France. He was also very popular in Germany, and a Berlin theatre has been named after him.
Sources: James Travers (Le Film Guide), AllMovie, Films de France, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
Femme aux yeux bleus
Œuvre d'Amedeo Modigliani (1884-1920)
vers 1918
Huile sur toile
Legs du Dr Maurice Girardin en 1953
Un des chefs-d’œuvre du musée !
Article de Wikipedia sur le peintre
fr.wikipedia.org/wiki/Amedeo_Modigliani
Site du musée d'art moderne de la ville de Paris
www.mam.paris.fr/fr/collection
on y cherchera vainement un catalogue en ligne décrivant les collections permanentes !
Das Museum Barberini Potsdam stellt Kunstwerke des italienischen Künstlers Amedeo Modigliani (1884-1920) aus.
Foto: Porträt von Modiglianis Galerist Paul Guillaume, 1915, Öl auf Karton.
When Amedeo Modigliani moved from Italy to Paris in 1906, the leading artists of the avant-garde were exploring the forms and construction of “primitive” objects. Inspired by Paul Gauguin’s directly carved sculptures, Constantin Brancusi, André Derain, Henri Matisse, and Pablo Picasso began to make archaizing stone and wood sculptures. Brancusi, with whom Modigliani developed a close friendship, exerted a strong influence on the Italian; this is particularly obvious in his attempts at carving between the years 1909 and 1915, when he made idol-like heads and caryatids with monumental and simplified forms.
Modigliani’s sculptural concerns were translated into paint in Jeanne Hébuterne with Yellow Sweater, in which he portrayed his young companion as a kind of fertility goddess. With her highly stylized narrow face and blank eyes she has the serene countenance of a deity, and the artist’s emphasis on massive hips and thighs mimics the focus of ancient sculptures that fetishize reproduction. Both this work and Nude, with their simplified, elongated oval faces, gracefully attenuated noses, and button mouths, suggest the artist’s interest in African masks.
Modigliani painted the human figure almost exclusively and created at least 26 reclining female nudes. Although the impact of Modernist practice on his art was great, he was also profoundly concerned with tradition; the poses of Nude and similar works echo precursors by Titian, Goya, and Velázquez. Nevertheless, Modigliani’s figures differ significantly in the level of raw sensuality they transmit. His nudes have often been considered lascivious, even pornographic, in part because they are depicted with body hair, but perhaps also due to the artist’s reputation for debauchery. His nickname, Modi, rhymes with the French word maudit (accursed), a name he very likely acquired because of his lifestyle. Modigliani died of tuberculosis and complications probably brought on by substance abuse and hard living. The tragic fact that Jeanne Hébuterne, pregnant with their second child, committed suicide the next day has only contributed to the infusion of romantic speculation concerning Modigliani’s work.
1919. Oli sobre tela. 115,9 x 73 cm. National Gallery of Art, Washington, DC. 1963.10.174. Obra exposada: Galeria 103A.
Amedeo Modigliani
Femme blonde (Germaine Survage) [1918]
Nancy MBA
Germaine Survage est la femme de Léopold Survage, peintre, graveur et ami de Modigliani. Il réalise ce portrait à Nice au cours de l'étè 1918, moins de deux ans avant sa mort.
MBA Nancy
1919. Oli sobre tela. 91,4 x 73 cm. The Metropolitan Museum of Art, Nova York. 56.184.2. Obra exposada: Galeria 900.
Imatge d’accés obert (Open Access, CC0), cortesia de The Metropolitan Museum of Art.
1918. Oli sobre tela. 89,53 x 64,13 cm. Los Angels County Museum of Art, Los Angeles. M.68.46.2. Obra no exposada.
French postcard by Editions La Malibran, Paris, no. CF 24. Photo: N. Hayer. Gérard Philipe and Renée Faure in La chartreuse de Parme (Christian-Jaque, 1948).
The legendary idol of the French cinema Gérard Philipe (1922–1959) was adored for his good looks, but he was also a very talented actor. He played roles as diverse as Faust and Modigliani and he was sought out by France's preeminent directors for his versatility and professionalism.
Gérard Philipe (sometimes written as Philippe) was born Gérard Philip in Cannes, France in 1922. In 1940, Gérard left school and his parents wanted him to become a lawyer. His mother noticed that he was only interested in acting, but his father was against the idea. Gérard's father, a successful businessman, was a right-wing extremist and collaborated with the Nazis. After the war, he was forced to exile to Spain to escape a death sentence. Gérard himself was his whole life a staunch social liberal politically wise. Actor Claude Dauphin introduced the young Philippe in 1942 to the stage. One of his first parts was as the angel in 'Sodome et Gomorrhe' by Jean Giraudoux in 1943. Director Marc Allégret decided that he showed some promise and gave him a small part in his film Les petites du quai aux fleurs/The Girls From the Quai aux Fleurs (Marc Allégret, 1944) starring Odette Joyeux. With the support of his admirer Jean Cocteau, he entered the Paris Conservatory where under the tutelage of Georges Le Roy he discovered his passion for live theatre. In 1945 he received rave reviews for his performance in the stage production of Albert Camus’ 'Caligula'. This success further opened the doors to the cinema. His first leading part in Le pays sans étoiles/Land Without Stars (Georges Lacombe, 1946) opposite Jany Holt got so many favourable reviews that he became a star.
In 1947, Gérard Philipe exploded upon the European film scene in Le diable au corps/Devil in the Flesh (Claude Autant-Lara, 1947), playing Francois Jaubert, a callow youth in love with much older and very married Micheline Presle. Superstardom followed almost immediately: female filmgoers doted upon Philippe's sensitive, handsome features and strapping physique, while men identified with his soulfulness and introspection. Next, he would take on prominent roles in such classic films as Une si jolie petite plage/Such a Pretty Little Beach (Yves Allégret, 1949), and La beauté du diable/Beauty and the Devil (René Clair, 1950) as Faust. He was an international success as the tongue-in-cheek titular swashbuckler Fanfan la Tulipe/Fan-Fan the Tulip (Christian-Jaque, 1952), one of the most popular historical-adventure films made in France. At Films de France, James Travers reviews: "Not only is the film impeccably made, with lavish production values, stunning cinematography and impressively choreographed fight scenes, but it has a timeless quality which will no doubt ensure it will remain a popular classic for years to come. Philipe excels in this film in what is regarded by many as his finest film role, the indefatigable womaniser and agile swordsman Fanfan la Tulipe. Philipe is simply brilliant in the role, tackling the numerous swordfights and Henri Jeanson’s sparkling dialogue with equal relish." He appeared with such great stars of the European cinema as Italian beauty Gina Lollobrigida in Les belles de nuit/Beauties of the Night (René Clair, 1952), with Michèle Morgan in both Les orgueilleux/The Proud Ones (Yves Allégret, 1953) and Les grandes manœuvres/The Grand Maneuver (René Clair, 1955). In 1956, Philipe starred in and directed a filmization of the old folk tale Till Eulenspiegel, Les Aventures de Till L'Espiègle/Bold Adventure (Gérard Philipe, Joris Ivens, 1956). The French-East-German coproduction was not a success. He simultaneously pursued his stage career, with a keen involvement in the Théatre National de Paris, which would endure up until his death. Whilst working at the TNP, Philipe, a strong believer in egalitarianism, would draw exactly the same salary as junior actors. He would also become president of the French actors union, actively promoting the rights of actors.
Gérard Philipe continued his string of film successes throughout the 1950s. Among these films were the Fyodor Dostoevsky adaptation Le joueur/The Gambler (Claude Autant-Lara, 1958) with Liselotte Pulver, and Les liaisons dangereuses/Dangerous Liaisons (Roger Vadim, 1959) opposite Jeanne Moreau. In 1959 doctors told Philippe that he had liver cancer. On 25 November that year, while working on Luis Buñuel's Le Fievre Monte a El Pao/Fever Mounts at El Pao (Luis Buñuel, 1959), he died at the peak of his popularity. He was just 36 years old. The news provoked an immediate and intense outpouring of grief. His early death elevated him to a near-legendary status in France. Since 1951, Philipe was married to actress and writer Nicole Fourcade, with whom he had two children, writer and actor Anne-Marie Philipe (1954) and Olivier Philipe (1957). Nicole adopted the pseudonym Anne Philipe and wrote two books about her husband, Souvenirs (1960) and Le Temps d'un soupir (1963, No Longer Than a Sigh). In 1961, Gérard's portrait appeared on a French commemorative postage stamp. There is a film festival named in his honour as well as a number of theatres, schools and colleges in various parts of France. He was also very popular in Germany, and a Berlin theatre has been named after him.
Sources: James Travers (Le Film Guide), AllMovie, Films de France, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
French postcard by Editions la Malibran, Saint Dié, no. CF 44.
The legendary idol of the French cinema Gérard Philipe (1922–1959) was adored for his good looks, but he was also a very talented actor. He played roles as diverse as Faust and Modigliani and he was sought out by France's preeminent directors for his versatility and professionalism.
Gérard Philipe (sometimes written as Philippe) was born Gérard Philip in Cannes, France in 1922. In 1940, Gérard left school and his parents wanted him to become a lawyer. His mother noticed that he was only interested in acting, but his father was against the idea. Gérard's father, a successful businessman, was a right-wing extremist and collaborated with the Nazis. After the war, he was forced to exile to Spain to escape a death sentence. Gérard himself was his whole life a staunch social liberal politically wise. Actor Claude Dauphin introduced the young Philippe in 1942 to the stage. One of his first parts was as the angel in 'Sodome et Gomorrhe' by Jean Giraudoux in 1943. Director Marc Allégret decided that he showed some promise and gave him a small part in his film Les petites du quai aux fleurs/The Girls From the Quai aux Fleurs (Marc Allégret, 1944) starring Odette Joyeux. With the support of his admirer Jean Cocteau, he entered the Paris Conservatory where under the tutelage of Georges Le Roy he discovered his passion for live theatre. In 1945 he received rave reviews for his performance in the stage production of Albert Camus’ 'Caligula'. This success further opened the doors to the cinema. His first leading part in Le pays sans étoiles/Land Without Stars (Georges Lacombe, 1946) opposite Jany Holt got so many favourable reviews that he became a star.
In 1947, Gérard Philipe exploded upon the European film scene in Le diable au corps/Devil in the Flesh (Claude Autant-Lara, 1947), playing Francois Jaubert, a callow youth in love with much older and very married Micheline Presle. Superstardom followed almost immediately: female filmgoers doted upon Philippe's sensitive, handsome features and strapping physique, while men identified with his soulfulness and introspection. Next, he would take on prominent roles in such classic films as Une si jolie petite plage/Such a Pretty Little Beach (Yves Allégret, 1949), and La beauté du diable/Beauty and the Devil (René Clair, 1950) as Faust. He was an international success as the tongue-in-cheek titular swashbuckler Fanfan la Tulipe/Fan-Fan the Tulip (Christian-Jaque, 1952), one of the most popular historical-adventure films made in France. At Films de France, James Travers reviews: "Not only is the film impeccably made, with lavish production values, stunning cinematography and impressively choreographed fight scenes, but it has a timeless quality which will no doubt ensure it will remain a popular classic for years to come. Philipe excels in this film in what is regarded by many as his finest film role, the indefatigable womaniser and agile swordsman Fanfan la Tulipe. Philipe is simply brilliant in the role, tackling the numerous swordfights and Henri Jeanson’s sparkling dialogue with equal relish." He appeared with such great stars of the European cinema as Italian beauty Gina Lollobrigida in Les belles de nuit/Beauties of the Night (René Clair, 1952), with Michèle Morgan in both Les orgueilleux/The Proud Ones (Yves Allégret, 1953) and Les grandes manœuvres/The Grand Maneuver (René Clair, 1955). In 1956, Philipe starred in and directed a filmization of the old folk tale Till Eulenspiegel, Les Aventures de Till L'Espiègle/Bold Adventure (Gérard Philipe, Joris Ivens, 1956). The French-East-German coproduction was not a success. He simultaneously pursued his stage career, with a keen involvement in the Théatre National de Paris, which would endure up until his death. Whilst working at the TNP, Philipe, a strong believer in egalitarianism, would draw exactly the same salary as junior actors. He would also become president of the French actors union, actively promoting the rights of actors.
Gérard Philipe continued his string of film successes throughout the 1950s. Among these films were the Fyodor Dostoevsky adaptation Le joueur/The Gambler (Claude Autant-Lara, 1958) with Liselotte Pulver, and Les liaisons dangereuses/Dangerous Liaisons (Roger Vadim, 1959) opposite Jeanne Moreau. In 1959 doctors told Philippe that he had liver cancer. On 25 November that year, while working on Luis Buñuel's Le Fievre Monte a El Pao/Fever Mounts at El Pao (Luis Buñuel, 1959), he died at the peak of his popularity. He was just 36 years old. The news provoked an immediate and intense outpouring of grief. His early death elevated him to a near-legendary status in France. Since 1951, Philipe was married to actress and writer Nicole Fourcade, with whom he had two children, writer and actor Anne-Marie Philipe (1954) and Olivier Philipe (1957). Nicole adopted the pseudonym Anne Philipe and wrote two books about her husband, Souvenirs (1960) and Le Temps d'un soupir (1963, No Longer Than a Sigh). In 1961, Gérard's portrait appeared on a French commemorative postage stamp. There is a film festival named in his honour as well as a number of theatres, schools and colleges in various parts of France. He was also very popular in Germany, and a Berlin theatre has been named after him.
Sources: James Travers (Le Film Guide), AllMovie, Films de France, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
c. 1918. Oli sobre tela. 81 x 53,5 cm. Museu de Arte de São Paulo Assis Chateaubriand, São Paulo. MASP.00152.
ART IS A DISEASE...
en.wikipedia.org/wiki/Amedeo_Modigliani
it.wikipedia.org/wiki/Amedeo_Modigliani
This picture is © Copyrighted.
None of these photos may be reproduced and/or used in any form of publication, print or the Internet without my written permission. Please contact me if you would like to use one of my images.
The slender figure and the overlong neck remind me of the style of Modigliani.
Self Portrait in a velvet dress (1926)
This is Frida's first self-portrait. It was painted as s gift for her student boyfriend, Alejandro Gomez Arias, who had left her. It was given as a token of love by which she hoped to restore his affection and keep her in his thoughts. Her plea for his love worked and not long after Alejandro received the portrait, they were rejoined.
The aristocratic pose reflects Frida's interest in the paintings of the Italian Renaissance period. This selfportrait is Frida's interpretation of Botticelli's "Venus" which Alejandro admired. The same style would later appear in her "Portrait of Alicia Gallant", 1927 ("http://www.fridakahlofans.com/c0022.html"), and "Portrait of Adriana", 1927 (http://www.fridakahlofans.com/c0023.html ).
Frida began this self-portrait in the summer of 1926 and sent it to Alejandro in late September. On the back of the painting she inscribed a dedication: "For Alex. Frida Kahlo, at the age of 17, September 1926 - Coyoacan - Heute ist immer noch" (Today still goes on).
In March of 1927, Alejandro's parents sent him an a tour of Europe with his uncle ... mainly to separate him from Frida, of whom they did not approve. Before leaving, he returned the painting to Frida for safe keeping.
This self-portrait was one of four paintings that Frida took to show Diego Rivera and ask his opinion of her work. After viewing the paintings, Rivera remarked that he was most interested in this self-portrait ".... because it is the most original" he said.
Amedeo Modigliani - Reclining Nude from the Back, 1917 at Barnes Foundation Philadelphia PA from the Masterworks Collection Catalog
Amedeo Modigliani - Redhead Girl in Evening Dress, 1919 at Barnes Foundation Philadelphia PA from the Masterworks Collection Catalog
Amedeo Modigliani
Femme blonde (Germaine Survage) [1918]
Nancy MBA
Germaine Survage est la femme de Léopold Survage, peintre, graveur et ami de Modigliani. Il réalise ce portrait à Nice au cours de l'étè 1918, moins de deux ans avant sa mort.
MBA Nancy