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Modigliani gives his protagonist a preferential treatment – he identifies with him, he withdraws in front of the cellist’s music in reverie for a medium of art different from that of his own. Following the auditory concentration of the cellist , Modigliani intentionally makes the visual pallet of the painting dull and inexpressive (for example, he reduces the background pattern behind the musician into a barely discernible certainty). The painter kneels before the unity of the cellist and the music he makes his cello produce/his cello makes him create.
Let’s look at the painting again. Like a painter’s studio looks like a disorderly workshop, the interior where the cellist works is, as if, visually reduced to non-significance. It is the music that destroys the very idea of human interior – it is, as though, turns it off. Interior stops to exist when lovers make love. The cellist follows the cello, which moves not in space but in time, moves without space. Instead of space we, as if, see what is inside the cello, area which looks trivial only in visual terms – it’s just for listening.
But what is that on the cellist’s bow – some kind of stuff, like ash or mold covered with dust? It is the sounds, the music the cellist and the cello produce between human being and the angel who was just sleeping inside the cello and is awakened by the human inspiration which has touched the silence of the instrument. The musician in this moment became as if, reincarnation of this angel – in the box of the room as a second cello. Modigliani registers the moment of awakening. The painter plays the role of a midwife in this birth in front of our eyes. The visual and the auditory, the painting and the music come together in the very moment of birth of creation.
Modigliani makes painting sing, like he makes music visual. Painting music is like playing painting as cello. Like composer and cellist disappear in the music, the painter disappears in his painting. Creativity is cruel – it creates reality like a future life which comes because of and instead of its creators.
Source: How To Make A Painting Sing, How to Make Music Painterly (posted by Victor in Acting-Out Politics)
en.wikipedia.org/wiki/Amedeo_Modigliani?fbclid=IwAR0p1iJq...
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Mondovisione Tour
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Federico Poggipollini,
Niccolò Bossini,
Max Cottafavi,
Michael Urbano,
Davide Pezzin,
Luciano Luisi
26 marzo 2015 - Modigliani Forum - Livorno
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Modigliani had a every tragic end. He died young and his wife Jeanne who was 9 months pregnant jumped out a window two days after he died killing herself and their baby. This is one of the many Jeanne portraits he painted.
Pupils went on to explore the tragic life and work of the Italian artist Amedeo Modigliani. His African influenced, mask-like faces inspired P6’s elongated, beautiful but haunting portraits created using layered oil pastels on black paper.
Amedeo Modigliani - Portrait of the Artist's Wife - Jeanne Hebuterne 1918 at Norton Simon Museum - Pasadena CA
Amedeo Modigliani - Italian, 1884 - 1920
Madame Amédée (Woman with Cigarette), 1918
East Building, Ground Level — Gallery 103-A
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.
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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. Un peintre et son marchand
www.musee-orangerie.fr/fr/agenda/expositions/amedeo-modig...
Installation view of the exhibition “Modigliani Unmasked.” September 15, 2017 – February 4, 2018. The Jewish Museum, NY.
Photo by: Jason Mandella
9 Likes on Instagram
6 Comments on Instagram:
jtuk1: Used to have this pic in my living room - not the original
sophia1406: @jtuk loved him too but could never pronounce confidently ;)
jtuk1: @sophia1406 modi glee arnie lol that's how I say it anyway love his work ,contemporary of Picasso in Paris ... Died young
sophia1406: @jtuk see I feel g silent lol
sophia1406: sad man
jtuk1: @sophia1406 I have heard it pronounced both ways lol
Amedeo Modigliani. Un peintre et son marchand
www.musee-orangerie.fr/fr/agenda/expositions/amedeo-modig...