MODIGLIANI, Amedeo, Paintings in Detail (1)

2. MODIGLIANI, Amedeo
Featured Paintings in Detail
(1)

3. MODIGLIANI, Amedeo
Nude Sitting on a Divan ("La Belle
Romaine")
1917
Oil on canvas, 146 x 89 cm
Private Collection

4. MODIGLIANI, Amedeo
Nude Sitting on a Divan ("La Belle
Romaine") (detal)
1917
Oil on canvas, 146 x 89 cm
Private Collection

5. MODIGLIANI, Amedeo
Nude Sitting on a Divan ("La Belle
Romaine") (detal)
1917
Oil on canvas, 146 x 89 cm
Private Collection

6. MODIGLIANI, Amedeo
Nude Sitting on a Divan ("La Belle
Romaine") (detal)
1917
Oil on canvas, 146 x 89 cm
Private Collection

7. MODIGLIANI, Amedeo
Nude Sitting on a Divan ("La Belle
Romaine") (detal)
1917
Oil on canvas, 146 x 89 cm
Private Collection

9. MODIGLIANI, Amedeo
Madame Pompadour
1914
Oil on canvas, 49.5 x 60.6 cm
Art Institute of Chicago, Chicago

10. MODIGLIANI, Amedeo
Madame Pompadour (detail)
1914
Oil on canvas, 49.5 x 60.6 cm
Art Institute of Chicago, Chicago

11. MODIGLIANI, Amedeo
Madame Pompadour (detail)
1914
Oil on canvas, 49.5 x 60.6 cm
Art Institute of Chicago, Chicago

12. MODIGLIANI, Amedeo
Madame Pompadour (detail)
1914
Oil on canvas, 49.5 x 60.6 cm
Art Institute of Chicago, Chicago

13. MODIGLIANI, Amedeo
Madame Pompadour (detail)
1914
Oil on canvas, 49.5 x 60.6 cm
Art Institute of Chicago, Chicago

15. MODIGLIANI, Amedeo
Portrait Of Chaim Soutine
1917
Oil on canvas, 91.8 × 59.7 cm
National Gallery of Art, Washington

16. MODIGLIANI, Amedeo
Portrait Of Chaim Soutine (detail)
1917
Oil on canvas, 91.8 × 59.7 cm
National Gallery of Art, Washington
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.

17. MODIGLIANI, Amedeo
Portrait Of Chaim Soutine (detail)
1917
Oil on canvas, 91.8 × 59.7 cm
National Gallery of Art, Washington

18. MODIGLIANI, Amedeo
Portrait Of Chaim Soutine (detail)
1917
Oil on canvas, 91.8 × 59.7 cm
National Gallery of Art, Washington

19. MODIGLIANI, Amedeo
Portrait Of Chaim Soutine (detail)
1917
Oil on canvas, 91.8 × 59.7 cm
National Gallery of Art, Washington

20. MODIGLIANI, Amedeo
Portrait Of Chaim Soutine (detail)
1917
Oil on canvas, 91.8 × 59.7 cm
National Gallery of Art, Washington

22. MODIGLIANI, Amedeo
Jacques And Berthe Lipchitz
1917
Oil on canvas, 81 x 54 cm
Art Institute of Chicago, Chicago

23. MODIGLIANI, Amedeo
Jacques And Berthe Lipchitz (detail)
1917
Oil on canvas, 81 x 54 cm
Art Institute of Chicago, Chicago

24. MODIGLIANI, Amedeo
Jacques And Berthe Lipchitz (detail)
1917
Oil on canvas, 81 x 54 cm
Art Institute of Chicago, Chicago

25. MODIGLIANI, Amedeo
Jacques And Berthe Lipchitz (detail)
1917
Oil on canvas, 81 x 54 cm
Art Institute of Chicago, Chicago

26. MODIGLIANI, Amedeo
Jacques And Berthe Lipchitz (detail)
1917
Oil on canvas, 81 x 54 cm
Art Institute of Chicago, Chicago

27. MODIGLIANI, Amedeo , Featured Paintings in
Detail (1)
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28. MODIGLIANI, Amedeo
Jacques And Berthe Lipchitz
This double portrait of Jacques Lipchitz and his wife, Berthe, exemplifies Modigliani's talent for eliciting the inner life of his subjects. Although his stylized method of painting presents two
mask-like faces, they reveal subtle clues about the personality of each sitter. Berthe has an open, kindly face, conveyed by the brightness of the paint and downward tilting eyes. Jacques, with
his small, compressed features sloping inward, appears calculating and suspicious. Wanting to pay his friend Modigliani as much as possible for his work, Jacques Lipchitz insisted on further
changes after its completion; as a result, the painting took nearly two weeks to finish.
https://en.wikipedia.org/wiki/Jacques_and_Berthe_Lipchitz

29. MODIGLIANI, Amedeo
Portrait Of Chaim Soutine
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.

30. MODIGLIANI, Amedeo
Madame Pompadour
This is one of the most famous portraits created by Modigliani. The painting is of a woman named Beatrice Hastings, who had a love affair with the artist for over two years, and sat
for many of his paintings. This portrait illustrates the artist’s style of turning the face into a mask-like image, and the elongation of the form of the body, in this case an
exaggeratedly long and thin neck. The subject is also perhaps a bit of a social critique, as the pompadour is also in his stylized, exaggerated form of simple lines, using a traditional
image to steer away from the traditional style of painting.

31. MODIGLIANI, Amedeo
Nude Sitting on a Divan (The Beautiful Roman Woman)
This oil on canvas painting depicting a partially draped woman seated with crossed legs against a warm red background. The work was one of a series of nudes painted by
Modigliani in 1917 that created a sensation when exhibited in Paris that year. On November 2, 2010, the painting sold at a New York auction for $68.9 million, a record price for an
artwork by Modigliani.
The several dozen nudes Modigliani painted between 1916 and 1919 constitute many of his best-known works. The nudes of this period are "displayed boldly, with only the faintest
suggestion of setting.... neither demure nor provocative, they are depicted with a degree of objectivity. Yet the uniformly thick, rough application of paint— as if applied by a
sculptor's hand— is more concerned with mass and the visceral perception of the female body than with titillation and the re-creation of translucent, tactile flesh".
This series of nudes was commissioned by Modigliani's dealer and friend Leopold Zborowski, who lent the artist use of his apartment, supplied models and painting materials, and
paid him between fifteen and twenty francs each day for his work.

32. MODIGLIANI, Amedeo
Modigliani was born in Livorno, Italy, into a family of Sephardic Jews who had little money but a rich cultural life.
When he arrived in Paris at the age of 22, he had had eight years of academic training behind him, and possessed
a great respect for the old masters and a passionate interest in literature, especially poetry.
He settled in Montmartre, entered the private Academy of Colorossi, and frequented gatherings of avant-garde
artists and poets. Even though he is reported to have had high esteem for Matisse and Picasso, his art, according
to scholars, never had any affinity to either the Fauves or the Cubists. Modigliani admired 14th century Italian art
(especially the Siena School of painting), and was interested in primitive art in general and African art in
particular. African art was an avant-garde craze at the time, and it is quite probable that Modigliani saw the
exhibition of African art displayed at the Trocadero in 1906.
In the autumn of 1907, Modigliani met a young physician, Dr. Paul Alexander, who bought most of his early
paintings. The doctor invited him to work at the artists' colony he had established on rue de Delta. They soon
became friends and shared their interest in literature and poetry.
Modigliani's art may be considered a personal version of expressionism. The expressionistic aspects of his work
were the thematic choice of profound, often painful aspects of human life, extensive use of sharp outlines, and
masterly yet intentionally strident or dissonant color combinations. He developed a highly personal style of
extremely elongated, simplified forms endowed with a sense of rhythmic vitality and linear grace.
Modigliani died of tuberculosis aggravated by alcoholism and drug addiction in January 1920, at the age of 37.
The art dealers, who are assumed to have kept the prices of Modigliani's painting low during his lifetime, began
negotiating a new price level at his funeral.