secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº113 | Nº168 | Nº191 | YES ? | ? | nº 94 | YES | ? |
Amedeo Modigliani
Léon Indenbaum acquired in 1916
Georges Chéron Gallery, Paris (Ca. 1916)
Sale Drouot July 1937
Gallery Zak, Paris
Henry and Rose Pearlman Collection,USA (1949)
Henry and Rose Pearlman Foundation, 1974-5
Loan to Princeton University Art Museum, New Jersey, USA since 1988
Inv. Nº L.1988.62.19
In process
T. Soby, Modigliani, Museum of Modern art, New York, catalogue exp. 1951, p. 34
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 113
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 191 (dated in 1917)
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 91 (dated in 1915)
Silver/Golan & others, The circle of Montparanasse Jewish Artist in Paris 1905-1945, Universe Books, The Jewish Museum, New York, 1985, p. 34, f. 30.
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 94
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002 , pp. 222-223 (Restellini dates in 1915)
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. 118, pl. 33
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
Marini, Modigliani , Skira, France, 2008 - nº 26, p. 60
Ireson, Fraquelli, Modigliani, London, Tate Modern, Skira Rizzoli, London, 2017, p. 109
In process
Cleveland, Modigliani: Paintings, Drawings, Sculpture, Cleveland Museum of Art, 1951
New York, Modigliani: Paintings, Drawings, Sculpture, The Museum of Modern Art, 1951
New York, Collection of Mr. and Mrs. Henry Pearlman, Knoedler & Co., 1959
Cincinnati, Amedeo Modigliani: Paintings, Sculpture and Drawings, The Contemporary Arts Center, 1959 - nº 10
Edinburgh, Modigliani, Royal Scottish Academy, 1963 - nº 22
London, Modigliani, Tate Gallery, 1963 - nº 22
New York, Amedeo Modigliani; loan exhibition, Acquavella Galleries, 1971 - nº 9 (photo not in printed catalogue, only in exhibition list)
New York, The circle of Montparanasse Jewish Artist in Paris 1905-1945, The Jewish Museum, 1985 - nº 72
Tokyo, Exposition Amedeo Modigliani au Japon, Tobu Museum of Art, 1992-93 - nº 15
Kyoto, Exposition Amedeo Modigliani au Japon, Daimaru Museum, 1992-93
Osaka, Exposition Amedeo Modigliani au Japon, Daimaru Museum of Umeda, 1992-93
Ibaraki, Exposition Amedeo Modigliani au Japon, Museum of Modern Art, 1992-93
Lugano, Amedeo Modigliani, Museo d'Arte Moderna, 1999 - nº 19
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 39
Milano, Modigliani: l'ange au visage grave, Palazzo Reale, 2003 - nº 30
New York, Modigliani: Beyond the Myth, The Jewish Museum, 2004
Toronto, Modigliani: Beyond the Myth, The Art Gallery of Ontario, 2004 - 2005
Washington D.C., Modigliani: Beyond the Myth, The Phillips Collection, 2005
London, Modigliani, Tate Modern, 2017-2018
In process
Not in D'Atri papers?
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Signature:
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Detail of the ears where the drawing is clearly visible and is painted over the color (on top of the color)
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The X-ray image of the painting is completely common to Modigliani's way of painting, everything in the Indenbaum figure is where it should be.
But under Indenbaum it show a lost composition, the museum say it's a still life based on a text by Pearlman on a story by Indenbaum:
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Original X-ray
Pearlman say the lower left side is a bottle and the rest a table, but in composition that does not make sense even if the painting was cut or scratched (Pearlman mentions the memory of Indenbaum).
This image reflects what seems to be the body of the bottle and the table in the back as Indenbaum remembers:
the frontal image has been processed to rise from the back
But this idea of a table still life Cubist style does not match with Modigliani early works, or maybe yes, but f we process the image again setting the rise to the central area, we get this:
A genre painting? ( could it be a man next to a balcony and a woman inside it? ) if we turn it 180 degrees we get this abstract composition with no logic:
If we just left the center area we get this:
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The painting framed at the Tate Gallery exhibit in 2017:
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Biography of the portrayed LINK