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ART IS A DISEASE...
en.wikipedia.org/wiki/Amedeo_Modigliani
it.wikipedia.org/wiki/Amedeo_Modigliani
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Oil on canvas; 81.5 x 55.6 cm.
Modigliani was born into a Jewish family of merchants. As a child he suffered from pleurisy and typhus, which prevented him from receiving a conventional education. In 1898 he began to study painting. After a brief stay in Florence in 1902, he continued his artistic studies in Venice, remaining there until the winter of 1906, when he left for Paris. His early admiration for Italian Renaissance painting—especially that of Siena—was to last throughout his life. In Paris Modigliani became interested in the Post-Impressionist paintings of Paul Cézanne. His initial important contacts were with the poets André Salmon and Max Jacob, with the artist Pablo Picasso, and—in 1907—with Paul Alexandre, a friend of many avant-garde artists and the first to become interested in Modigliani and to buy his works. In 1908 the artist exhibited five or six paintings at the Salon des Indépendants. In 1909 Modigliani met the Romanian sculptor Constantin Brancusi, on whose advice he seriously studied African sculpture. To prepare himself for creating his own sculpture, he intensified his graphic experiments. In his drawings Modigliani tried to give the function of limiting or enclosing volumes to his contours. In 1912 he exhibited at the Salon d’Automne eight stone heads whose elongated and simplified forms reflect the influence of African sculpture. Modigliani returned entirely to painting about 1915, but his experience as a sculptor had fundamental consequences for his painting style. The characteristics of Modigliani’s sculptured heads—long necks and noses, simplified features, and long oval faces—became typical of his paintings. He reduced and almost eliminated chiaroscuro (the use of gradations of light and shadow to achieve the illusion of three-dimensionality), and he achieved a sense of solidity with strong contours and the richness of juxtaposed colors.
The outbreak of World War I in 1914 increased the difficulties of Modigliani’s life. Alexandre and some of his other friends were at the front, his paintings did not sell, and his already delicate health was deteriorating because of his poverty, feverish work ethic, and abuse of alcohol and drugs. He was in the midst of a troubled affair with the South African poet Beatrice Hastings, with whom he lived for two years, from 1914 to 1916. He was assisted, however, by the art dealer Paul Guillaume and especially by the Polish poet Leopold Zborowski, who bought or helped him to sell a few paintings and drawings.
Modigliani was not a professional portraitist; for him the portrait was only an occasion to isolate a figure as a kind of sculptural relief through firm and expressive contour drawing. He painted his friends, usually personalities of the Parisian artistic and literary world (such as the artists Juan Gris and Jacques Lipchitz, the writer and artist Jean Cocteau, and the poet Max Jacob), but he also portrayed unknown people, including models, servants, and girls from the neighborhood. In 1917 he began painting a series of about 30 large female nudes that, with their warm, glowing colors and sensuous, rounded forms, are among his best works. In December of that year Berthe Weill organized a solo show for him in her gallery, but the police judged the nudes indecent and had them removed.
In 1917 Modigliani began a love affair with the young painter Jeanne Hébuterne, with whom he went to live on the Côte d’Azur. Their daughter, Jeanne, was born in November 1918. His painting became increasingly refined in line and delicate in colour. A more tranquil life and the climate of the Mediterranean, however, did not restore the artist’s undermined health. After returning to Paris in May 1919, he became ill in January 1920; 10 days later he died of tubercular meningitis. Little-known outside avant-garde Parisian circles, Modigliani had seldom participated in official exhibitions. Fame came after his death, with a solo exhibition at the Bernheim-Jeune Gallery in 1922 and later with a biography by André Salmon. For decades critical evaluations of Modigliani’s work were overshadowed by the dramatic story of his tragic life, but he is now acknowledged as one of the most significant and original artists of his time.
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
1917. Oli sobre tela. 61 x 38 x 3 cm. Museu de Arte de São Paulo Assis Chateaubriand, São Paulo. MASP.00149.
Corona-No 15
Amedeo Modigliani Videoconference
with the following participants
1) Portrait 01 Christina [1916] - Bonhams
2) Portrait 02 of the painter Manuel Humbert [1916]
3) Portrait 03 Nu assis sur un divan (La belle Romaine) [1917]
4) Portrait 04 Woman with red hair [1917]
5) Portrait 05 La femme à l'éventail [1919]
6) Portrait 06 Ritratto di Dèdie (Odette Hayden) [1918]
7) Portrait 07 of Jeanne Hébuterne, his Mistress [1919]
8) Portrait 08 Leopold Zborowski (art dealer & poet) [1916]
9) Portrait 09 Jean Cocteau [1916] (French poet, playwright, novelist, designer, filmmaker, visual artist and critic)
Please watch the video
>Una Cuarentena con Arte<
"A quarantine with Art" by friking.es on youtube
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
In Antwerp / Belgium.
River Cruise Ship Modigliani - CroisiEurope Cruises.
River Cruise Ship River Harmony - Grand Circle Cruise Line.
Thank you all for your visit !
Jeanne Modigliani, née Giovanna Hébuterne le 29 novembre 1918 à Nice et morte le 27 juillet 1984, est la fille du peintre de l'École de Paris Amedeo Modigliani (1884-1920) et de sa compagne Jeanne Hébuterne (1898-1920), également artiste-peintre. Le surlendemain de la mort d'Amedeo Modigliani, le 24 janvier 1920, sa jeune compagne Jeanne Hébuterne, alors enceinte de neuf mois, se suicide en se défenestrant. Leur fille Giovanna, âgée de quatorze mois et alors en nourrice, est recueillie et élevée à Livourne par sa grand-mère et sa tante paternelles, Eugénie Garsin-Modigliani et sa fille célibataire Margherita Modigliani.
Jeanne épouse l'économiste italien Mario Cesare Silvio Levi. Durant la Seconde Guerre mondiale, elle rejoint la Résistance française, rencontre Valdemar Nechtschein (alias Victor Leduc, dit « Valdi »), se marie avec lui et ont deux filles, Anne, née en 1946, et Laure, née en 1951, mais divorcent en 1980. Devenue historienne d'art et ayant entre autres écrit en 1952 sur Van Gogh, elle en vient à s'intéresser à l'œuvre de son père et rédige en 1958 sa biographie, Modigliani, l'homme et le mythe. Elle meurt le 27 juillet 1984 à Pariset ses cendres se trouvent au crématorium-columbarium du Père-Lachaise (cf. wikipédia).
Conté crayon; 29.5 × 22.1 cm.
Modigliani was born into a Jewish family of merchants. As a child he suffered from pleurisy and typhus, which prevented him from receiving a conventional education. In 1898 he began to study painting. After a brief stay in Florence in 1902, he continued his artistic studies in Venice, remaining there until the winter of 1906, when he left for Paris. His early admiration for Italian Renaissance painting—especially that of Siena—was to last throughout his life. In Paris Modigliani became interested in the Post-Impressionist paintings of Paul Cézanne. His initial important contacts were with the poets André Salmon and Max Jacob, with the artist Pablo Picasso, and—in 1907—with Paul Alexandre, a friend of many avant-garde artists and the first to become interested in Modigliani and to buy his works. In 1908 the artist exhibited five or six paintings at the Salon des Indépendants. In 1909 Modigliani met the Romanian sculptor Constantin Brancusi, on whose advice he seriously studied African sculpture. To prepare himself for creating his own sculpture, he intensified his graphic experiments. In his drawings Modigliani tried to give the function of limiting or enclosing volumes to his contours. In 1912 he exhibited at the Salon d’Automne eight stone heads whose elongated and simplified forms reflect the influence of African sculpture. Modigliani returned entirely to painting about 1915, but his experience as a sculptor had fundamental consequences for his painting style. The characteristics of Modigliani’s sculptured heads—long necks and noses, simplified features, and long oval faces—became typical of his paintings. He reduced and almost eliminated chiaroscuro (the use of gradations of light and shadow to achieve the illusion of three-dimensionality), and he achieved a sense of solidity with strong contours and the richness of juxtaposed colors.
The outbreak of World War I in 1914 increased the difficulties of Modigliani’s life. Alexandre and some of his other friends were at the front, his paintings did not sell, and his already delicate health was deteriorating because of his poverty, feverish work ethic, and abuse of alcohol and drugs. He was in the midst of a troubled affair with the South African poet Beatrice Hastings, with whom he lived for two years, from 1914 to 1916. He was assisted, however, by the art dealer Paul Guillaume and especially by the Polish poet Leopold Zborowski, who bought or helped him to sell a few paintings and drawings.
Modigliani was not a professional portraitist; for him the portrait was only an occasion to isolate a figure as a kind of sculptural relief through firm and expressive contour drawing. He painted his friends, usually personalities of the Parisian artistic and literary world (such as the artists Juan Gris and Jacques Lipchitz, the writer and artist Jean Cocteau, and the poet Max Jacob), but he also portrayed unknown people, including models, servants, and girls from the neighborhood. In 1917 he began painting a series of about 30 large female nudes that, with their warm, glowing colors and sensuous, rounded forms, are among his best works. In December of that year Berthe Weill organized a solo show for him in her gallery, but the police judged the nudes indecent and had them removed.
In 1917 Modigliani began a love affair with the young painter Jeanne Hébuterne, with whom he went to live on the Côte d’Azur. Their daughter, Jeanne, was born in November 1918. His painting became increasingly refined in line and delicate in colour. A more tranquil life and the climate of the Mediterranean, however, did not restore the artist’s undermined health. After returning to Paris in May 1919, he became ill in January 1920; 10 days later he died of tubercular meningitis. Little-known outside avant-garde Parisian circles, Modigliani had seldom participated in official exhibitions. Fame came after his death, with a solo exhibition at the Bernheim-Jeune Gallery in 1922 and later with a biography by André Salmon. For decades critical evaluations of Modigliani’s work were overshadowed by the dramatic story of his tragic life, but he is now acknowledged as one of the most significant and original artists of his time.
Huile sur toile, 73 x 117 cm, 1917, Guggenheim Museum, New-York.
Quand Amedeo Modigliani a quitté l'Italie pour Paris en 1906, les principaux artistes de l'avant-garde exploraient les formes et la construction d'objets "primitifs". Inspirés par les sculptures directement sculptées de Paul Gauguin, exposées dans une rétrospective cette année-là, Constantin Brancusi, André Derain, Henri Matisse et Pablo Picasso ont commencé à faire des sculptures archaïques en pierre et en bois. Brancusi, avec qui Modigliani a développé une amitié étroite, a exercé une forte influence sur lui. Cela est particulièrement évident dans ses tentatives de sculpture des années 1909-1915, quand il a fait des têtes et des cariatides idolâtres avec des formes monumentales et simplifiées.
Les préoccupations sculpturales de Modigliani ont été traduites en peinture dans Jeanne Hébuterne avec Le Pull jaune, dans laquelle il dépeint sa jeune compagne comme une sorte de déesse de la fertilité. Avec son visage étroit très stylisé et ses yeux vierges, elle a en effet le visage serein d'une divinité, et l'accent mis par l'artiste sur les hanches et les cuisses massives imite le sculptures anciennes fétichisant la reproduction. Cette œuvre et Le Pull jaune, avec leurs visages ovales simplifiés et allongés, leurs nez gracieusement atténués et leurs bouches de bouton, suggèrent l’intérêt de l’artiste pour les masques africains.
Modigliani a peint la figure humaine presque exclusivement et a créé au moins 26 nus féminins couchés (dont il n'en reste aujourd'hui que 22). Bien que l'impact de la pratique moderniste sur son art soit important, il était également profondément préoccupé par la tradition, les poses de Nu et œuvres similaires faisant écho aux précurseurs de Titien, Goya et Velázquez, mais différant considérablement par le niveau de sensualité brute qu’ils transmettent. Ses nus ont souvent été considérés comme lascifs, voire pornographiques, en partie parce qu’ils sont représentés avec des poils, mais peut-être aussi en raison de la réputation de l’artiste pour la débauche. Son surnom, Modi, rime avec le mot français maudit, un nom qu'il a très probablement acquis en raison de son mode de vie. Modigliani est mort de tuberculose et de complications probablement provoquées par la toxicomanie et la vie difficile. Le fait tragique que Jeanne Hébuterne, enceinte de leur deuxième enfant, se soit suicidée le lendemain n’a contribué qu’à alimenter la spéculation romantique concernant le travail de Modigliani (cf. Jennifer Blessing, Guggenheim Museum).
1916-1919. Oli sobre tela. 100 x 65 x 5,5 cm. Museu de Arte de São Paulo Assis Chateaubriand, São Paulo. MASP.00150.
Oil on canvas. 55.3 x 33 cm.
Modigliani was born into a Jewish family of merchants. As a child he suffered from pleurisy and typhus, which prevented him from receiving a conventional education. In 1898 he began to study painting. After a brief stay in Florence in 1902, he continued his artistic studies in Venice, remaining there until the winter of 1906, when he left for Paris. His early admiration for Italian Renaissance painting—especially that of Siena—was to last throughout his life. In Paris Modigliani became interested in the Post-Impressionist paintings of Paul Cézanne. His initial important contacts were with the poets André Salmon and Max Jacob, with the artist Pablo Picasso, and—in 1907—with Paul Alexandre, a friend of many avant-garde artists and the first to become interested in Modigliani and to buy his works. In 1908 the artist exhibited five or six paintings at the Salon des Indépendants. In 1909 Modigliani met the Romanian sculptor Constantin Brancusi, on whose advice he seriously studied African sculpture. To prepare himself for creating his own sculpture, he intensified his graphic experiments. In his drawings Modigliani tried to give the function of limiting or enclosing volumes to his contours. In 1912 he exhibited at the Salon d’Automne eight stone heads whose elongated and simplified forms reflect the influence of African sculpture. Modigliani returned entirely to painting about 1915, but his experience as a sculptor had fundamental consequences for his painting style. The characteristics of Modigliani’s sculptured heads—long necks and noses, simplified features, and long oval faces—became typical of his paintings. He reduced and almost eliminated chiaroscuro (the use of gradations of light and shadow to achieve the illusion of three-dimensionality), and he achieved a sense of solidity with strong contours and the richness of juxtaposed colors.
The outbreak of World War I in 1914 increased the difficulties of Modigliani’s life. Alexandre and some of his other friends were at the front, his paintings did not sell, and his already delicate health was deteriorating because of his poverty, feverish work ethic, and abuse of alcohol and drugs. He was in the midst of a troubled affair with the South African poet Beatrice Hastings, with whom he lived for two years, from 1914 to 1916. He was assisted, however, by the art dealer Paul Guillaume and especially by the Polish poet Leopold Zborowski, who bought or helped him to sell a few paintings and drawings.
Modigliani was not a professional portraitist; for him the portrait was only an occasion to isolate a figure as a kind of sculptural relief through firm and expressive contour drawing. He painted his friends, usually personalities of the Parisian artistic and literary world (such as the artists Juan Gris and Jacques Lipchitz, the writer and artist Jean Cocteau, and the poet Max Jacob), but he also portrayed unknown people, including models, servants, and girls from the neighborhood. In 1917 he began painting a series of about 30 large female nudes that, with their warm, glowing colors and sensuous, rounded forms, are among his best works. In December of that year Berthe Weill organized a solo show for him in her gallery, but the police judged the nudes indecent and had them removed.
In 1917 Modigliani began a love affair with the young painter Jeanne Hébuterne, with whom he went to live on the Côte d’Azur. Their daughter, Jeanne, was born in November 1918. His painting became increasingly refined in line and delicate in colour. A more tranquil life and the climate of the Mediterranean, however, did not restore the artist’s undermined health. After returning to Paris in May 1919, he became ill in January 1920; 10 days later he died of tubercular meningitis. Little-known outside avant-garde Parisian circles, Modigliani had seldom participated in official exhibitions. Fame came after his death, with a solo exhibition at the Bernheim-Jeune Gallery in 1922 and later with a biography by André Salmon. For decades critical evaluations of Modigliani’s work were overshadowed by the dramatic story of his tragic life, but he is now acknowledged as one of the most significant and original artists of his time.
An enlarged reproduction of the Modigliani painting which Christie's sold at auction for $170.4 million
www.cnbc.com/2015/11/10/modigliani-nude-sells-for-170-mln...
Le Parti de l'Impressionnisme, la collection Courtauld de Londres,
à la Fondation Louis Vuitton de Paris,
jusqu'au 17 juin 2019.
Amedeo Modigliani (1884-1920)
Oil on canvas
59.9 x 92 cm
www.christies.com/lotfinder/paintings/amedeo-modigliani-n...
Christie's
The Artist's Muse : A Curated Evening Sale
New York, 9 Nov 2015
Amedeo Modigliani - Girl in a Green Blouse, 1917 at National Gallery of Art - East Wing - Washington DC