LaurieAnnie's photos with the keyword: Modigliani

Lola de Valence,1915 Object Details Artist: Amedeo Modigliani (Italian, Livorno 1884–1920 Paris) Date: 1915 Medium: Oil on paper, mounted on wood Dimensions: H. 20 1/2 × W. 13 1/4 in. (52.1 × 33.7 cm) Classification: Paintings Credit Line: Bequest of Miss Adelaide Milton de Groot (1876-1967), 1967 Accession Number: 67.187.84 Modigliani consistently integrated stylistic features of African art into his distinctive portraits. This work represents Lola de Valence, a famous dancer who had previously modeled for Edouard Manet. Recalling a type of mask made in the French Congo, the head’s elongated shape and abstracted facial features also appear in Modigliani’s limestone sculpture Woman’s Head (on view nearby). Although the artist had abandoned sculpture by 1914 to focus exclusively on painting, his African-inflected sculptural style remained a touchstone for his painted portraits until his death in 1920. Text from: www.metmuseum.org/art/collection/search/489642

Lola de Valence,1915 Object Details Artist: Amedeo Modigliani (Italian, Livorno 1884–1920 Paris) Date: 1915 Medium: Oil on paper, mounted on wood Dimensions: H. 20 1/2 × W. 13 1/4 in. (52.1 × 33.7 cm) Classification: Paintings Credit Line: Bequest of Miss Adelaide Milton de Groot (1876-1967), 1967 Accession Number: 67.187.84 Modigliani consistently integrated stylistic features of African art into his distinctive portraits. This work represents Lola de Valence, a famous dancer who had previously modeled for Edouard Manet. Recalling a type of mask made in the French Congo, the head’s elongated shape and abstracted facial features also appear in Modigliani’s limestone sculpture Woman’s Head (on view nearby). Although the artist had abandoned sculpture by 1914 to focus exclusively on painting, his African-inflected sculptural style remained a touchstone for his painted portraits until his death in 1920. Text from: www.metmuseum.org/art/collection/search/489642

Head of a Woman Amedeo Modigliani, Italian, 1884 - 1920 Geography: Made in France, Europe Date: 1912 Medium: Limestone Dimensions: 27 3/4 x 9 1/4 x 3 inches (70.5 x 23.5 x 7.6 cm) Base: 4 1/2 x 9 1/8 x 8 1/4 inches (11.4 x 23.2 x 21 cm) Curatorial Department: Modern Art Object Location: Currently not on view Accession Number: 1950-2-1 Credit Line: Gift of Mrs. Maurice J. Speiser in memory of her husband, 1950 Label: Though widely recognized for his painted portraits of women with elongated features, Modigliani equally considered himself to be a sculptor of the first rank. He created around two dozen stone sculptures between 1909 and 1915, utilizing the direct carving techniques he had learned in Paris from the Romanian-born sculptor Constantin Brancusi. This bust of a woman's head displays a stylized, modern interpretation of non-Western art--especially Cycladic and Egyptian statuary--also referenced in the artist's oil compositions. Modigliani found sculpture to be a prohibitively expensive and physically demanding process, which explains why he did not produce more three-dimensional works in his short lifetime. Text from: www.philamuseum.org/collections/permanent/51930.html?mulR=572590285|3

Head of a Woman Amedeo Modigliani, Italian, 1884 - 1920 Geography: Made in France, Europe Date: 1912 Medium: Limestone Dimensions: 27 3/4 x 9 1/4 x 3 inches (70.5 x 23.5 x 7.6 cm) Base: 4 1/2 x 9 1/8 x 8 1/4 inches (11.4 x 23.2 x 21 cm) Curatorial Department: Modern Art Object Location: Currently not on view Accession Number: 1950-2-1 Credit Line: Gift of Mrs. Maurice J. Speiser in memory of her husband, 1950 Label: Though widely recognized for his painted portraits of women with elongated features, Modigliani equally considered himself to be a sculptor of the first rank. He created around two dozen stone sculptures between 1909 and 1915, utilizing the direct carving techniques he had learned in Paris from the Romanian-born sculptor Constantin Brancusi. This bust of a woman's head displays a stylized, modern interpretation of non-Western art--especially Cycladic and Egyptian statuary--also referenced in the artist's oil compositions. Modigliani found sculpture to be a prohibitively expensive and physically demanding process, which explains why he did not produce more three-dimensional works in his short lifetime. Text from: www.philamuseum.org/collections/permanent/51930.html?mulR=572590285|3

Artist: Amedeo Modigliani (Italian, 1884–1920) Title: Reclining Nude Date: 1917 Medium: Oil on canvas Dimensions: H. 23-7/8, W. 36-1/2 in. (60.6 x 92.7 cm) Classification: Paintings Credit Line: The Mr. and Mrs. Klaus G. Perls Collection, 1997 Accession Number: 1997.149.9 Description: Born to a once-prosperous Jewish merchant family in Italy, Amedeo Modigliani grew up in a cultured but financially strained environment in Livorno. A severe bout of pleurisy ended his formal schooling at age fourteen, and he was plagued by poor health for the rest of his short life; he died of tuberculosis at age thirty-five. From 1902 to 1906 Modigliani studied painting with the Italian artist Guglielmo Micheli (a proponent of plein-air painting) and visited Capri, Naples, Florence, Venice, and Rome. In 1906 he moved permanently to Paris, where he frequented artists' gatherings and became friends with other expatriate artists living in France, such as Chaim Soutine and Moïse Kisling. Modigliani was a prolific artist, producing some 420 paintings, innumerable drawings, and 31 sculptures between 1906 and 1920. His celebrated series of nudes continues the tradition of depictions of Venuses from the Renaissance to the nineteenth century but with one significant difference: the eroticism of the earlier figures is always couched within a mythological or anecdotal context, whereas Modigliani does away with this pretext. Consequently, his women appear unabashedly frank and provocative. The artist is best known for the works that he created in Paris between 1915 and 1919 — portraits, in which a few telling details achieve a striking likeness, and nudes. Modigliani began his great series of reclining women in 1916. The two dozen or so figures — never his mistresses or friends but always professional models — lie on a dark bed cover that accentuates the glow of their skin; they are seen close-up and usually from above. Their stylized bodies span the entire width of the canvas, and their hands and feet often remain outside the picture's frame. Sometimes asleep, they most often face the viewer, as does this gracefully built model in one of the artist's most famous paintings of the series Text from: www.metmuseum.org/works_of_art/collection_database/modern...

Amedeo Modigliani. Italian, 1884-1920 Jeanne Hebuterne 1919 Oil on canvas Accession # 56.184.2 Text from the Metropolitan Museum of Art label.

Amedeo Modigliani. Italian, 1884-1920 Boy in a Striped Sweater 1918 Oil on canvas Accession # 1999.363.56 Known for his sensual nudes and totemic sculptures Modigliani always painted his portraits from the model and usually finished them in one sitting. From March 1918 until May 1918 he and his mistress, Jeanne Hebuterne (1898-1920), lived in the south of France due to the artist's deteriorating health. During this time, Modigliani employed local servants, shop girls and children as his models. Text from the Metropolitan Museum of Art label.

Amedeo Modigliani. Italian, 1884-1920 Girl in a Sailor's Blouse 1918 Oil on canvas Accession # 60.118 Text from the Metropolitan Museum of Art label.

Amedeo Modigliani. Italian, 1884-1920 Jeanne Hebuterne 1919 Oil on canvas Accession # 56.184.2 Text from the Metropolitan Museum of Art label.

Amedeo Modigliani. Italian, 1884-1920 The Italian Woman 1917 Oil on canvas Accession # 56.4 Text from the Metropolitan Museum of Art label.