woman in a white shirt by  amedeo modigliani
Pfannstiel Lanthemann Ceroni J. Modigliani Parisot Patani Restellini Wayne
Nº 197 Nº 222 Nº 204 YES 24/1917 NO YES ?
Date 1917
Title Woman in white shirt - Woman with white shawl - Young woman - Femme au corsage blanc - Femme au manteau blanc - Woman with a yellow corset - The yellow corset
Materials Oil on canvas ?
Size 55 x 38 cm (Pfannstiel, Parisot, Restellini 55 x 37 - size in 1920 auction 55 x 39)
Signature: Signed "modigliani" top right (reverse not seen)
Actual Location Museo Nacional de Bellas Artes, Buenos Aires, Argentina (Inv. Nº 7969 )
Provenance -?-

Paul Guillaume, Paris?
Léon Zamaron Collection, Paris
Sold Hotel Drouot,Zamaron Collection - 9, June, 1920 - as woman head - Lot 54
Bernheim Jeune Gallery, Paris (1929)
Torcuato Di Tella Collection, Buenos Aires (until 1971)

Acquired in 1971 by the Museo Nacional de Bellas Artes, Buenos Aires, Argentina - Inv. Nº 7969
(Actually not on display - April 2019)

In process

Bibliography -?-

Waldemar, La grande peinture contemporaine a la collection Paul Guillaume, Paris, 1929, p. 149
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 32
Georges-Michel, Les Montparnos, Paris, 1929, p. 207
Basler, Modigliani. Editions G. Cres, Paris, 1931, pl. 29
Descargues, Amedeo Modigliani. Braun, Paris, 1951, pl. 47
San Lazzaro, Modigliani peintures, Les Éditions du Chêne, Paris, 1953, p. 6
Le Point, Paris, 1954, p. 33
Descargues, Amedeo Modigliani, Braun, Paris, 1954, pl. 47
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 197
Ceroni, Modigliani, Edizione del Milioni, 1968, p. 208
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 222
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 204
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991- nº 24/1917
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007

In process

Exhibitions -?-

Paris, Modigliani, Galerie Bernheim-Jeune, 1922 - nº 3
Venezia, Modigliani retrospective, XIII Biennale di Venezia, 1922 - nº 8 - as Il corsetto paglierino - woman with ayellow corset (nº 163670)
Paris, la grande peinture contemporaine à la collection Paul Guillaume, Galerie Bernheim-Jeune, 1929
Tokyo, Exposition Amedeo Modigliani au Japon, Tobu Museum of Art, 1992-93 - nº 24
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 32
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 66
Milano, Modigliani: l'ange au visage grave, Palazzo Reale, 2003 - nº 46

In process

Other Not in D' Atri papers


The signature of the painting:

visible light signature
Normal light
Infrared light signature
Infrared light (visible that it say" MODGLIAINI"
This can be more easy to see in this no color image:
signature no color


This painting present holes in 2 sides, the rest must be covered by restorations or cleaning.


The infrared image reveals a very scarce design, maybe the composition is unfinished or it was done in a short time.
The under drawing is absolutely precise showing a master hand with a small correction in the shoulder line:

infrared woman with white shawl

The swirls of the brush visible next to the shoulders in the infrared are common in Modigliani's oeuvre, not in this exact location but are usual in his overall work.


This painting must have been under an aggressive cleaning because part of the lines have vanished (and the ears) and even changed position as can be seen in a simple comparative
from the 1920 image of the Zamaron auction and actual image, take a close look at the red lines that have changed
changes in the painting
changes in the painting

Probably with the strong cleaning the painting also lost many other details (recent studies have discovered he mixed tempera with oil and under a non competent
cleaning, tempera comes out very easily)


Image of the sale catalogue from 1920:

sale catalogue 1920

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