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I wasn't able to follow the plot very closely, but there was a volcano someplace and her suit was lava-proof. She's Robin, as in Batman and. Her brother supposedly had the lead but had forgotten his costume so little sister had to carry almost the entire performance.
Not the greatest capture, perhaps, but I love the drama. Such pathos!
Leica M3 | Summicron 35mm | Tri-X
May 9, 2009. New scan, 3 year interval. Same film, different camera, different developer. Same photographer. Same location, same time of day.
Photography: quasi temporal conquest.
Roll #22, Frame 29. 1/500; f/16 probably.
Dev: HC-110
Artist | Amedeo Modigliani (1884 in Italy - 1920 in France)
Title | Madam Pompadour (1915)
oil on canvas
61.1 x 50.2 cm
Exhibitor | Art Institute of Chicago
www.artic.edu/artworks/27281/madam-pompadour
Born of Jewish parents in the Italian coastal town of Leghorn, Amedeo Modigliani settled in Paris in 1906, where he developed friendships with Pablo Picasso , the poet Max Jacob, the sculptor Constantin Brancusi, and other members of the literary and artistic avant-garde, many of whom appear in his portraits. He led a notoriously bohemian life, shortened by a self-destructive use of alcohol and drugs. Modigliani produced his finest paintings between 1914 and his premature death in 1920. Within a limited range of subjects, mainly portraits and nudes, he developed a highly distinctive style of sensitively elongated forms. In this portrait, Modigliani’s emphasis is on a strong formal structure dominated by the grid in the background and the echoing curves of the sitter’s hat, shoulders, and features. There is none of the pathos often associated with his work. The artist seems instead to have invested this portrait with a note of ironic detachment, even humor, reflected in both the title of the painting (which refers to Madame de Pompadour, mistress of King Louis XV of France) and the expression of amused inscrutability worn by the sitter. Were painter and sitter perhaps both amused by the flamboyant hat? Modigliani’s skill in rhyming forms, while at the same time keeping us visually interested and slightly off-balance, is evident throughout the picture, which resonates with the lessons of Paul Cezanne, Cubism, and African sculpture. The sitter for this portrait may well have been Beatrice Hastings, an English poetess who was Modigliani’s mistress at the time. Because of the artist’s tendency to generalize his sitter’s features, however, a comparison of this portrait with others of Hastings is inconclusive.
AIC553