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c. 1916-1917. Oli sobre tela. 92,7 x 60,3 cm. Museu d'Art de Cincinnati, Cincinnati. 1959.43. Obra exposada.
1916-1917. Oli sobre tela. 92 x 65 x 2 cm. Museu de Arte de São Paulo Assis Chateaubriand, São Paulo. MASP.00148.
East German postcard by VEB Volkskunstverlag Reichenbach L.V., no. G 591, 1956. Photo: Zentralbild, 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.
The Musée de l'Orangerie is an important art gallery of impressionist and post-impressionist paintings located in the Tuileries Gardens, Paris. Though most famous for being the permanent home for eight Water Lilies murals by Claude Monet, the museum also contains works by Paul Cézanne, Henri Matisse, Amedeo Modigliani, Pablo Picasso, Pierre-Auguste Renoir, Henri Rousseau, Alfred Sisley, Chaim Soutine, and Maurice Utrillo, a.o.
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Please view my most interesting photos on flickriver stream: www.flickriver.com/photos/ioan_bacivarov/
Many thanks for yours visits and comments.
East-German postcard by VEB Progress Film-Vertrieb, Berlin, no. 148, 1966. Photo: Gerhard Puhlmann.
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.
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.
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.
1919. Oli sobre tela. 116,8 x 73,7 cm. The Metropolitan Museum of Art, Nova York. 1996.403.9. Obra no exposada.
Imatge d’accés obert (Open Access, CC0), cortesia de The Metropolitan Museum of Art.
1916-1919. Oli sobre tela. 65,72 x 50,17 cm. Museu d'Art de Dallas, Dallas. 1981.126. Obra no exposada.
This week's artist of inspiration features elaborate headdresses on her images. I've borrowed one of Modigliani's ladies for my impression of her style.
1916-1919. Oli sobre tela. 100 x 65 x 5,5 cm. Museu de Arte de São Paulo Assis Chateaubriand, São Paulo. MASP.00150.
The Courtauld Gallery in Somerset House is one of the finest collections of art in the UK.
Visitors can enjoy a remarkable art collection, including famous Impressionist and Post-Impressionist masterpieces, and an acclaimed programme of temporary exhibitions
Jewish Museum
Exhibition 'Modigliani Unmasked'
'Portrait of Manuel Humbert' by 'Amedeo Modigliani' (1916)
DSC03237
Primary school and Modigliani "Collège"
Location: Corner of rue de Cherbourg and rue des Morillons
Construction: 1932-1935
Architect: Pierre Sardou (1873-1952)
Sculptor: Henri Navarre (1885-1971)
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A family detail, my husband went to this "collège" (secondary school) from 1962 to 1966...:)
1918. Oli sobre tela. 91,4 x 54,6 cm. The Metropolitan Museum of Art, Nova York. 1999.363.56. Obra no exposada.
Imatge d’accés obert (Open Access, CC0), cortesia de The Metropolitan Museum of Art.
1917. Oli sobre tela. 91,7 x 59,7 cm. National Gallery of Art, Washington, DC. 1963.10.47. Obra exposada: Galeria 103A.
Jewish Museum
Exhibition 'Modigliani Unmasked'
Studies of a female nude by 'Amedeo Modigliani' (1909)
DSC03230
1916. Oli sobre paper. 100,2 x 81 x 3 cm. Museu de Arte de São Paulo Assis Chateaubriand, São Paulo. MASP.00147.
Villeneuve d'Ascq (France), 4.2024
LaM, Musée d'Art Moderne
Peinture: "Nu assis à la chemise", Amedeo Modigliani (1917)
"Il y voyait bien davantage encore que le portrait sublime d'une femme dont il connaissait la peau, les cuisses, les hanches, les joues pourpres et la bouche incarnat. Il y voyait ce qu'elle ne lui apporterait plus, ce qu'aucune ne lui offrirait plus, évidemment pas la caresse amoureuse, mais cette richesse intense, l'absolue complicité qui lie le peintre à son modèle. [...] Comme si Chloé posant pour Modigliani, lui avait donné quelque chose qu'il avait connu naguère et qu'il ne percevait plus. Il regardait cette toile comme il voyait le monde, et il voyait le monde comme s'il avait les yeux crevés."
>>> Dan Franck.......in: Nu couché (1998)
"He saw in it much more than the sublime portrait of a woman whose skin, thighs, hips, crimson cheeks and incarnate mouth he knew. He saw in it what she would never give him again, what no woman would ever offer him again, obviously not the caress of love, but that intense richness, the absolute complicity that binds the painter to his model. [...] It was as if Chloé, posing for Modigliani, had given him something he had once known but no longer perceived. He looked at this canvas as he saw the world, and he saw the world as if his eyes were gouged out."
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Corona-No 15
Amedeo Modigliani - video conference Portrait No B-1
Woman with red hair [1917]
Washington NGA 46651 - wm
Amedeo Modigliani, 1884 - 1920
Female Semi-Nude, 1918
Albertina - Batliner Collection
Modigliani, born in Livorno, came to Paris as a young, academically trained painter, where he worked mainly as a sculptor between 1909 and 1914. The austere, archaic-like elongated form of his stone sculptures also sets the tone for his painting.
The painting belongs to a 1918 group of images that show the same red-haired, not known by name model in different positions. The central theme in Modigliani's work is man, especially the erotic female nude. In these depictions, he consciously ties in with traditional role models such as Botticelli's and Titian's depictions of Venus or Ingres's odalisks. The flat-hieratic stylization and the facial features of the figures, which are stereotypically reduced to the mask, reflect Modigliani's enthusiasm for Egyptian and African sculpture.
Amedeo Modigliani, 1884 - 1920
Weiblicher Halbakt
Albertina - Sammlung Batliner
Modigliani, in Livorno geboren, kommt als junger, akademisch geschulter Maler nach Paris, wo er zwischen 1909 und 1914 hauptsächlich als Bildhauer arbeitet. Die strenge, archaisch anmutende überlängte Form seiner Steinskulpturen wird auch für seine Malerei stilprägend.
Das Gemälde gehört zu einer 1918 entstandenen Gruppe von Bildern, die dasselbe rothaarige, namentlich nicht bekannte Modell in unterschiedlichen Stellungen zeigen. Das zentrale Tema im Werk Modiglianis ist der Mensch, vor allem der erotische weibliche Akt. Er knüpft in diesen Darstellungen bewusst an traditionelle Vorbilder wie Botticellis und Tizians Venusdarstellungen oder Ingres' Odalisken an. Die flächig-hieratische Stilisierung und die zur Maske stereotyp reduzierten Gesichtszüge der Figuren spiegeln Modiglianis Begeisterung für ägyptische und afrikanische Skulptur wider.
About the exhibition Monet to Picasso:
The presentation "Monet to Picasso. The Batliner Collection"
"Monet to Picasso" provides an informative overview of one of the most exciting chapters in the history of art: the turn from figurative to abstract art.
On the basis of approximately 250 works, the continuous progression from Impressionism to Modernism is clearly depicted. By fortunate interlocking of the Batliner Collection with collections of the Albertina, supplemented by the Forberg Collection, emerged extensive ensembles of works of groundbreaking artists that make it possible to give an overall view about the various "isms" of modern times. The focus of this presentation is the Batliner Collection, which was passed by the Foundation Herbert and Rita Batliner in May 2007 to the Albertina.
The bow of the exhibition begins with the French Impressionism with outstanding late works by Monet ("Water Lily Pond") and Degas ("Two Dancers"), the Post-Impressionism (Toulouse-Lautrec and Cézanne), Fauvism (Matisse) and Neo-Impressionism.
An important step on the way to abstraction represents the Cubism which is represented brilliantly with Braque and Picasso. The surrealism of Ernst, Miró, Klee and Magritte is represented as well as the Russian avant-garde with Lissitzky and Malevich.
The arc concludes with examples of Abstract Expressionism, represented by works by Appel, Rothko and Newman and the New Realism of Yves Klein.
For the first time, a permanent exhibition collection of classical modernism as a unit of paintings and graphics: 2008, the Albertina was extended by 2,000 m2. This offered the possibility of creating a permanent viewing collection of this generous new arrival. This permanent exhibition collection shows mainly the classic modernism of the Batliner Collection, a unique enrichment in its importance and generosity of the museums in the Austrian capital Vienna.
"The Batliner Collection enjoys since many years an excellent reputation among connoisseurs and museums."
(Prof. Dr. Werner Spies)
For the first time, masters of classical modernism can now be presented in Vienna. It has always been an aspiration of the Albertina and its director Klaus Albrecht Schröder to represent art from the perspective of the drawing integrally and discipline-crossingly. Graphics and art on canvas can not be seen isolated. Drawings and graphics are not intended as a special event for specialists, but as an art form among others. This concept has been well received by the visitors. Through the holistic presentation of art, the Albertina could reach completely new audiences: in the four years alone since its reopening in 2003, counted the Albertina more than three million visitors, many of them being for the first time in the house.
Über die Ausstellung Monet bis Picasso:
Die Präsentation „MONET bis PICASSO. Die Sammlung BATLINER“
„Monet bis Picasso“ bietet einen informativen Überblick über eines der spannendsten Kapitel in der Kunstgeschichte: die Wende von der figurativen zur abstrakten Kunst.
Anhand von ca. 250 Werken kann das kontinuierliche Fortschreiten vom Impressionismus zur Moderne anschaulich nachvollzogen werden. Durch die glückliche Verzahnung der Sammlung Batliner mit Beständen der Albertina, ergänzt durch die Sammlung Forberg, kamen umfassende Werkblöcke bahnbrechender Künstler zustande, die es ermöglichen, eine Zusammenschau über die vielfältigen „Ismen“ der Moderne zu geben. Im Zentrum dieser Präsentation steht die Sammlung Batliner, die von der Stiftung Herbert und Rita Batliner im Mai 2007 der Albertina übergeben wurde.
Der Bogen der Ausstellung setzt an beim französischen Impressionismus mit herausragenden Alterswerken von Monet („Seerosenteich“) und Degas („Zwei Tänzerinnen“), dem Postimpressionismus (Toulouse-Lautrec und Cézanne), Fauvismus (Matisse) und Neo-Impressionismus.
Einen wichtigen Schritt auf dem Weg zur Abstraktion stellt der Kubismus dar, der mit Braque und Picasso fulminant vertreten ist. Der Surrealismus eines Ernst, Miró, Klee und Magritte ist ebenso vertreten wie die russische Avantgarde mit Lissitzky und Malewitsch.
Der Bogen schließt mit Beispielen des Abstrakten Expressionismus, vertreten durch Werke von Appel, Rothko und Newman, und dem Neuen Realismus eines Ives Klein.
Erstmals eine permanente Schausammlung der klassischen Moderne als Einheit von Gemälde und Grafik: 2008 wird die Albertina um 2.000 m2 erweitert. Dadurch bietet sich die Möglichkeit, eine ständige Schausammlung dieses großzügigen Neuzugangs einzurichten. Diese permanente Schausammlung wird vor allem die klassische Moderne der Sammlung Batliner zeigen, eine in ihrer Bedeutung und Großzügigkeit einzigartige Bereicherung der Museen in der Bundeshauptstadt Wien.
„Die Sammlung Batliner genießt seit vielen Jahren höchstes Ansehen bei Kennern und Museen.“
(Prof. Dr. Werner Spies)
Erstmals können nun in Wien die Meister der klassischen Moderne präsentiert werden. Immer schon war es ein Bestreben der Albertina und ihres Direktors Klaus Albrecht Schröder, Kunst aus dem Blickwinkel der Zeichnung ganzheitlich und gattungsübergreifend darzustellen. Grafik und Kunst auf Leinwand können nicht isoliert betrachtet werden. Zeichnung und Grafik sind nicht als Spezialveranstaltung für Spezialisten gedacht, sondern als eine Kunstform unter anderen. Dieses Konzept wurde auch von den Besucher positiv aufgenommen. Durch die ganzheitliche Präsentation von Kunst konnte die Albertina völlig neue Besucherschichten erreichen: Allein in den vier Jahren seit der Wiedereröffnung 2003 zählte die Albertina über drei Millionen Besucher, viele davon waren zum ersten Mal im Haus.
b Livorno, 12 July 1884; d Paris, 24 Jan 1920.
Jewish-Italian painter, draughtsman and sculptor. While he is acknowledged to be one of the major artists of his generation, he was not as experimental and daring as his contemporaries. The direction of Picasso's work, for instance, changed radically between 1906 and 1909 as a result of the influence of Cézanne and other styles of art (notably African), but Modigliani's assimilation of these sources had no such far-reaching consequences. Given Modigliani's limited subject-matter in painting and sculpture, he achieved an extraordinary range of psychological interpretations of the human face, maintaining his individuality through his distinctive elongations of face or form.
text from www.answers.com/topic/amedeo-modigliani
image from: www.jacquesmoitoret.com/html/amedeo_modgiliani.html
Week 9 The Art of The Con (1391-1395) 3/24 – 3/29/2024 ID 1393
Amedeo Modigliani Italian, 1884-1920
La Jeune bonne (The Servant Girl, , ca. 1918
Oil on canvas
Amedeo Modigliani’s distinctive style is characterized by sparse settings and figures with elongated bodies, oval head, and vacant eyes. The subject of the this painting is thought to be Marie Feret, a country girl from the South of France. Her clothing and diminutive stance underscore her role as a servant. However, there is a certain dignity to the figure, which is rendered near to life size, a scale that was often historically reserved for paintings of royalty and the elite.
Room of Contemporary Art Fund, 1939
From the Placard: Buffalo AKG ART Museum
en.wikipedia.org/wiki/Amedeo_Modigliani
Amedeo Modigliani: Unravel the Life of the Artistic Genius Who Redefined Beauty! -Art History School
youtu.be/KEGBtss0MYM?si=inAgn_kCOqulM4ez
For an artist whose life was cut so tragically short—he died at only 36 years of age of tubercular meningitis—and therefore produced a somewhat limited body of work., Modigliani’s work has been the subject of a great deal of fraud. The famous and prolific forgers Elmyr de Hory and, later, John Myatt, made numerous counterfeit paintings attributed to him, and the problem of tracking Modiglianis is complicated by the fact that he was destitute and often resorted to trading his paintings for food. Furthermore, his mistress, Jeane Hébuterne, committed suicide just days after his death. Thus, little information about his works remains. Perhaps most startling was the 2012 arrest of Christian Gregori Parisot, the man who headed the Archives Legales Amadeo Modigliani and was once considered one of the world’s most reliable authenticators of the artist’s works. Parisot was nabbed by Italian police after a raid of an exhibition resulted in authorities finding 22 fakes. They would go on to seize 59 fakes from Parisot and his suspected accomplice, art dealer Matteo Vignapiano. In all, it is thought that Parisot had put more than 100 bogus Modiglianis on the art market. Incredibly, Parasot was arrested a few years earlier for fakes he offered for sale as drawings made by Modigliani’s mistress, Hébuterne. (The Art of The Con Pg. 146.)
ID 1393