secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 140 | Nº 160 | Nº 127 | YES | 14/1916 | Nº 145 | ? | YES |
L. Zborowski, Paris
C. Zamaron Collection, Paris (in 1927)
Samuel Courtauld Collection. London ( until 1932)
Courtauld Institute of Art, London, UK (Gift of Samuel Courtauld in 1932- Nº P.1932.SC.271)
In process
Carco, Le nu dans la peinture moderne, 1924, pl. 18
Einstein, Die Kunst des 20 Jahrhunderts, Im Propylaen, Berlin, 1926, pl. 234 located in coll. Zamaron
Schwarz, Modigliani, Paris, 1927, pl. 15
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929- nº 3, p. 22
Einstein, Die Kunst des 20 Jahrhunderts, Im Propylaen, Berlin, 1931, p.292
Franchi, Modigliani, Arnaud, Firenze, 1944, pl. 19
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Milan, 1950, pl. 6
Blunt, Art et Styl, Paris, 1955 - nº 36
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 140
Georges-Michel, Les Montparnos, Paris, 1957, pl. 10
Marseille, Modigliani, Musée Cantini, 1958, pl. 1
Cartier, Modigliani Nus, Hazan, Paris, 1958, pl. 2
Ceroni, Amedeo Modigliani: Peintre; Suivi des Souvenirs de Lunia Czechowska, Edizioni del Milione, 1958 - nº 29
Scheiwiller, Arte Moderna Italiana nº 8 Amedeo Modigliani, U. Hoepli Ed. Zurich, 1958, pl. 52
Russoli, Amedeo Modigliani, Exhib. catalogue Palazzo Reale, Edizioni dell'ente manifestazioni Milanesi, Milano, 1958, pl. 9
Modigliani J. , Modigliani: Man and Myth, Orion Press, New York, 1958
Modigliani J. , Modigliani senza leggenda, Vallecchi Editore, Firenze, 1958
Modigliani J. , Modigliani sans légende, Gruend, Paris, 1961, p. 93
Russoli, Amedeo Modigliani, Fratelli Fabbri, Milano, 1963 - nº 11
Werner, Amedeo Modigliani , H. Abrams, New York 1966
Gindertael, Shop libre diffusion, 1967, pl. 34, p. 60
Werner, Amedeo Modigliani, Cercle d'art, Paris,1968, pp. 82-83
Geza, Modigliani, Tchekoslovakia, 1969 - nº 11
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 160
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 127
Hubbard, Modigliani and the painters of Montparnasse, Lamplight Publ. New York, 1975, pl. 34, p. 44 (dated in 1917)
Carluccio, Leymarie, Negri, Russoli, Brunhammer, École de Paris, Rive Gauche, Paris, 1981, p. 316
Hall, Modigliani, Phaidon, Oxford, 1984 - nº 26
Roy, Modigliani, Nathan, Paris, 1985, p. 81
Braun, Italian art, 1988, p. 62
Royal Academy of Arts, Italian Art in the 20th Century: painting and Sculpture, 1900-1988, Prestel, London, 1989, p. 138
A. Ceroni, Les nus, 1989, p. 45
Orion Press, Tokyo, 1989 - nº 32
Schmalenbach, Amedeo Modigliani, Prestel, Munich, 1990, pl. 56, p. 107 - nº 56 - dated 1916
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 nº 14/1916
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 145
Parisot, Modigliani, Pierre Terrail, Paris, 1992, p. 77
Krystof, Amedeo Modigliani: The Poetry of Seeing, Taschen, Cologne, 2000, p. 58
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005 , pl. 16 - p. 18
Fraquelli, Modigliani and His Models. Exh. cat., Royal Academy of Arts. London, 2006, pp. 90-91 - nº 14
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
King/ Ireson / Fraquelli / Townsend, The Modigliani Technical Research Study. An introduction to Modigliani’s materials and techniques, The Burlington magazine, 2018
Burnstock / Duvernois / Stringari, The Modigliani Technical Research Study. Modigliani’s painted nudes 1916–17, The Burlington magazine, 2018
In process
(Paris, Modigliani , Berthe Weill Gallery, 1917 -Unknnown number)
Brussels, Modigliani: Retrospective Exhibition. Palais des beaux-arts, 1933 - nº 22
Basel, Amedeo Modigliani, Kunsthalle, 1934
Paris, The Impressionists, Musée de l'Orangerie, 1955 - nº 31
Marseille, Modigliani, Musée Cantini, 1958 - nº 18
Czechoslovakia, Modigliani,1969, nº 11
Liege, Modigliani exhibition. Musée Saint Georges, 1980 - nº 7
London, Italian Art in the 20th Century: painting and Sculpture, 1900-1988, Royal Academy of Arts, 1989 - nº 62
Munich, Italian Art Braun, 1988
Düsseldorf, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunstsammlung Nordrhein-Westfalen, 1991 - nº 39
Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, Kunsthaus, 1991 - nº 39
London, Modigliani and his models, Royal Academy of Arts, 2006 - nº 14
Bonn, Amedeo Modigliani: Ein Mythos der Moderne, Bundesrepublik, 2009 - nº 74 (dated c. 1916)
London - Modigliani, Tate Gallery, 2017
In process
Nº 22 in D´Atri papers
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Signature of the painting:
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Detail of the real texture of the painting:
Detail of the contour line all over the figure, made with a dirty black (a mix of other pigments , probably spare oils) diluted, is clearly visible.
In these details the black line over the 4 borders can be seen clearly, Modigliani worked this painting not stretched to the armour of the canvas, directly from the roll and the lines
were used to mark the size of the stretcher and to know where to cut once the painting was done.
This painting also presents the 4 holes in the corners, so it was placed in a wood or a wall to paint directly against it and after that nailed to the armour once in the gallery of Berthe Weill probably.
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
This painting presents holes in the 4 corners
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Xray images:
In this X-ray the bright color is the lead (lead white or lead mix in the pigments) the use of titanium white after 1921-22 becomes common, the toxicity of the lead and the
more expensive pigment in comparison to titanium white made the white lead disappear in later productions of other artists, and of course this affected the possible forgeriess that
were not even aware of this fact.
Detail of the X-ray showing the way Modigliani played with the brush stoke:
This feature is not visible in the final image:
Modigliani painting dabs and ordered line can be clearly seen in these examples:
Forgers, even the ones who lived next to Modigliani, had no idea of how he really painted so their productions can be detected with a simple reading of this common feature to original Modigliani's
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Image of the painting pre and post cleaning:
--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
The painting framed at the Courtauld Institute of Art in 2015:
