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Amedeo Modigliani. Un peintre et son marchand
www.musee-orangerie.fr/fr/agenda/expositions/amedeo-modig...
Kopie A 4 von Heikki
Modigliani war der Meister der feinen Linie besonders um Akte zu zeichnen.
Er lebte in Paris und war zeitlebens in ärmlichen Verhältnissen. Ich liebe Modigliani Zeichnungen.
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.
modigliani
"Cette exposition est la première à s’intéresser à une amitié artistique jamais explorée jusqu’alors, celle qui unit le sculpteur Ossip Zadkine au peintre Amedeo Modigliani.
À travers près de 90 œuvres, peintures, dessins, sculptures mais également documents et photographies d’époque, elle propose de suivre les parcours croisés de Modigliani et Zadkine, dans le contexte mouvementé et fécond du Montparnasse des années 1910 à 1920. Bénéficiant de prêts exceptionnels de grandes institutions - le Centre Pompidou, le musée de l’Orangerie, les musées de Milan, Rouen et Dijon - ainsi que de prêteurs privés, le parcours fait se confronter, comme au temps de leurs débuts artistiques, deux artistes majeurs des avant-gardes, et permet de renouer les fils d’une amitié interrompue.
Ossip Zadkine rencontre Amedeo Modigliani en 1913 : les deux artistes, fraîchement débarqués à Paris, rêvent chacun de devenir sculpteurs et partagent alors le « temps des vaches maigres » comme l’écrira Zadkine dans ses souvenirs. Cette amitié, aussi brève que féconde sur le plan artistique, est interrompue par la Première Guerre mondiale. Modigliani abandonne la sculpture pour la peinture, sur le conseil de marchands. Zadkine s’engage comme brancardier en 1915, avant d’être gazé et d’entamer une longue convalescence. Les deux artistes se retrouvent brièvement au sortir de la guerre, avant que leurs voies ne divergent à nouveau. Modigliani connaît un succès croissant avec ses peintures, mais il meurt prématurément à 35 ans, en 1920, tandis que Zadkine entame une longue et fructueuse carrière de sculpteur. Zadkine n’oubliera pas Modigliani et conservera précieusement le portrait fait par son ancien camarade, dont la gloire posthume ne fait que croître, à tel point que « Modi » devient l’une des figures mythiques de l’art moderne.
Modigliani / Zadkine : des débuts à Paris sous le signe de la sculpture
L’exposition débute en présentant côte-à-côte une sélection d’œuvres de Modigliani et Zadkine réalisées entre leurs arrivées respectives à Paris – 1906 pour Modigliani, 1910 pour Zadkine – et les débuts de la Première Guerre mondiale. Lorsque Zadkine rencontre Modigliani en 1913, celui-ci s’adonne pleinement à la sculpture, depuis sa rencontre avec Brancusi en 1909. La parenté de leur quête artistique ne peut que rapprocher les deux artistes : tous deux veulent rompre avec l’esthétique académique et se tournent vers de nouveaux modèles, puisés dans l’Égypte ancienne, les arts khmers et africains. Modigliani cherche un type de visage idéal, à l’ovale accusé et aux yeux en amande dont Zadkine se souviendra encore dans les années 1920, lorsqu’il sculptera à son tour une magnifique série de têtes idéales.
Une amitié interrompue (1918-1920)
Dessins et portraits peints de Modigliani, accompagnés d’une magnifique sélection de gouaches de Zadkine, illustrent ici les chemins divergents qu’empruntent Zadkine et Modigliani au sortir de la Première Guerre mondiale. La guerre met un terme brutal à l’amitié des deux artistes. Trop fragile pour s’engager, Modigliani est réformé et renonce définitivement à la sculpture, sur le conseil de son marchand Paul Guillaume. Zadkine s’engage dans la Légion étrangère : affecté à l’ambulance russe en 1915 comme brancardier, il est gazé en 1916, puis définitivement réformé en octobre 1917. Les chemins des deux artistes se croisent à nouveau brièvement à la fin de la guerre, avant la mort prématurée de Modigliani en janvier 1920.
À Montparnasse, les affinités électives
Un magnifique ensemble de « portraits d’amitié » dessinés par Modigliani, met en scène les « Montparnos » que Zadkine et Modigliani fréquentèrent tous deux au temps de leur amitié, tels Max Jacob, Chana Orloff ou André Salmon. Modigliani était en effet célèbre pour les portraits qu’il croquait rapidement, à la terrasse des cafés, en échange d’un verre ou d’un café, ou simplement en gage d’amitié et de reconnaissance. Le portrait qu’il fit de Zadkine, l’un des chefs-d’œuvre de la collection, s’inscrit indubitablement dans cette veine et constitue l’un des fleurons de l’ensemble.
Zadkine et le mythe Modigliani
Ici, documents, films et photographies, témoignent de l’ampleur du « mythe Modigliani » et montrent la part active prise par Zadkine dans l’édification de la légende. La mort de Modigliani, emporté par une méningite tuberculeuse le 24 janvier 1920, constitue un traumatisme pour la communauté d’artistes installés à Montparnasse. Dès les années 1920, la légende s’empare de cet artiste au destin tragique. Ceux qui l’ont connu et admiré de son vivant, livrent tour à tour leur témoignage.
Zadkine ne fait pas exception : dès 1930, le sculpteur évoque son ami dans un numéro spécial dédié à Modigliani. Dans ses souvenirs, publiés un an après sa mort en 1967, Zadkine brosse un éloquent portrait, haut en couleurs, de « Modi » et apporte ainsi sa pierre à l’édification de la légende du « prince de Montparnasse ».
Des extraits d’une émission de 1963 avec Blaise Cendrars et Ossip Zadkine évoquant leur jeunesse avec Modigliani viennent enrichir cette partie illustrant le mythe.
Un temple pour l’humanité
Avec sa scénographie volontairement immersive et spectaculaire, la dernière partie met en scène le rapport qu’entretinrent chacun des deux artistes à l’architecture et au sacré, à travers le motif du Temple. Les têtes sculptées par Modigliani dans les années 1910 sont en effet conçues comme un ensemble décoratif devant s’intégrer dans un spectaculaire « temple de volupté » * soutenu par des « colonnes de tendresse » * qu’auraient symbolisé de souples femmes-cariatides. Ce motif de la cariatide, inlassablement dessiné par Modigliani est également repris à maintes reprises par Zadkine et donne lieu à certains chefs-d’œuvre du sculpteur, dont la réputation avant-guerre tient largement à ses grands bois sculptés, avatars modernes des divinités antiques.
Commissaires :
Cécilie Champy-Vinas, conservatrice en chef du patrimoine, directrice du musée Zadkine & Thierry Dufrêne, professeur d’histoire de l’art contemporain à l’Université Paris Nanterre
Avec la collaboration d’Anne-Cécile Moheng, attachée de conservation au musée Zadkine"
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Marianne esta preparando el desayuno,va en busca de una bandeja y se ve el cadaver de un hombre tirado en la cama.
En la pared se ve este cuadro de Modigliani.
00:14:32 - 00:10:33
00:14:56 - 00:10:59
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Amedeo Modigliani - Italian, 1884 - 1920
Chaim Soutine, 1917
East Building, Ground Level — Gallery 103-A
Shown from the lap up, a cleanshaven man with black hair and dark clothes faces us as he sits with his hands resting together in his lap in this stylized, vertical portrait painting. The man's features, clothing, and the room are painted with areas of mottled color with visible brushstrokes, so many details are indistinct. The man has peach-colored skin, and his facial features are outlined. He has dark eyes that look at us or slightly up, under thin, arched brows. One eye is a little higher than the other, and the two halves of his long face do not quite match. He has a wide nose, and his full, dark rose-pink lips are closed. His hair is parted down the middle and is brushed down to meet his ears. He has an elongated neck, and his narrow shoulders slope down. He wears black pants and a black coat over a dark teal-green vest. A white shirt is visible along his neckline, and an area of black could be the knot of a tie. He holds the fingers of one hand in his other, both hands resting in his lap. A loosely painted, brown table sits next to the man to our right, and an area of slate blue and white could be a glass on the table. A vertical line in the background behind the man, to our right, probably indicates the corner of the room. The walls are painted with strokes of smoke gray, ocean blue, and some parchment white. The artist signed the work in dark letters in the upper right corner, “modigliani.”
Born in 1884 to an aristocratic family in Livorno, Italy, Amedeo Modigliani settled in the Montmartre neighborhood of Paris in 1906 and began making paintings influenced by both the mood of Picasso's Blue period and the pictorial structure of late Cézanne. In 1909 he met Constantin Brancusi and began to focus on sculpture; the thin features and references to African art in the series of stone heads of 1909–1914 clearly reflect Brancusi's influence.
As both painter and sculptor Modigliani concentrated on portraiture. Though he abandoned sculpture in late 1913 or early 1914 to return to painting, the long necks and attenuated features of his sculptures continue in his later painted portraits. Modigliani is also renowned for a series of languorous nudes, some of which he exhibited in 1918 at the Galerie Berthe Weill in Paris; the exhibition was closed by the police on the grounds of obscenity. Modigliani died of tubercular meningitis, aggravated by drugs and alcohol, in a Paris hospital in 1920.
The 11th child of a Russian Jewish tailor, Chaim Soutine (1894–1943) was rescued from poverty and abuse by a rabbi who recognized his talent and sent him to art school—first in Minsk, then in Vilna. Soutine arrived in Paris at the age of 17 in 1911–1912 and met Modigliani in Montparnasse in about 1914. They developed a close friendship, and Modigliani painted Soutine's portrait several times. Soutine's unruly, spontaneous manner of painting was alien to his Italian friend, who, to describe his own state of drunkenness, once quipped, "Everything dances around me as in a landscape by Soutine." The elegant Modigliani felt protective of the uncouth Soutine, 10 years his junior. In 1916 Modigliani introduced his friend to his dealer, Leopold Zborowski, and urged him to handle Soutine's work, which he began to do. Shortly before Modigliani died, he told Zborowski, "Don't worry, I'm leaving you Soutine."
While many of Modigliani's portraits are either stylized and impersonal—with eyes often left blank—or almost caricatural, this painting seems to be both particular and sympathetic. Soutine sits with tumbling hair and ill-matched clothes, his hands placed awkwardly in his lap, his nose spreading across his face as he stares out of the frame. The half-closed eyes, one slightly higher than the other, might suggest Soutine's despair and hopelessness, attitudes with which Modigliani could identify as a poor artist in Paris. Modigliani's treatment of Soutine may also reflect the special place that Soutine had won in the older artist's affections.
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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...
Amedeo Modigliani, Blue Eyes (Portrait of Madame Jeanne Hébuterne)/Yeux bleus (Portrait of Madame Jeanne Hébuterne) (1917)
Painted by Amedeo Modigliani (1884-1920) in 1917. Modigliani began his celebrated series of thirty reclining nudes in 1916. Although rooted in the Renaissance depiction of Venus, his eroticized nudes are devoid of mythological or allegorical references.
Painting by Amedeo Modigliani
Edited by Mehrzad Hatami
See the original work here: en.wikipedia.org/wiki/Amedeo_Modigliani#/media/File:Amede...(ca.1917).jpg