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Life and Work
1884 Amedeo Clemente Modigliani is born on July 12, the fourth and
youngest child of Flaminio and Eugenia Modigliani, in Livorno
(Leghorn). Tuscany. The family belongs to the more secularised
Jewish bourgeoisie and at the time of Modigliani's birth is in a
precarious financial situation. Because of an economic crisis in
Italy, the family business goes bankrupt and in order to contribute
to the family income Modigliani's mother begins to give private
lessons and to take on translations. Modigliani grows up in an
environment interested in literature and philosophy.
1898 Modigliani contracts typhoid fever and his destiny as an artist
is revealed to him in a legendary delirious dream. After his
recovery he leaves school and takes lessons from the painter Guglielmo Micheli at the Art Academy in Livorno. His brother
Emanuele, who later becomes a famous representative of the Italian
Socialist Party, is sent to prison for six months because of his
political activities.
1900 Modigliani contracts tuberculosis and spends the winter of
1900/01 in Naples, on Capri and in Rome. Amongst his few remaining,
written documents are the five letters that he wrote during this
period of recuperation and study to his friend, the artist Oscar Ghiglia.
1902 On May 7 Modigliani enrols in the Scuola libera di Nudo
(Free School for Nude Studies) in Florence and takes instruction
with Giovanni Fattori. He visits Florence's museums and churches and
studies the art of the Renaissance.
1903 Modigliani follows his friend Oscar Ghiglia to Venice,
where he remains until moving to Paris. On March 19 he enrols in the
Institute di Belle Arti di Venezia and its life-drawing classes. In
Venice's museums and churches he occupies himself intensely with the
art of the old masters. At the Biennial in 1903 and 1905 he sees the
works of the French Impressionists, sculptures by Rodin and
paintings belonging to the genre of Symbolism. In Venice Modigliani
becomes acquainted with the "joys of hashish" and is said to have
taken part in seances. He befriends artists such as Ortiz de Zarate
and Ardengo Soffici and will meet them again in Paris. Very few
works exist from this period of Modigliani's studies in Italy.
1906 At the beginning of the year Modigliani goes to Paris. He
moves into a simple studio on Montmartre and takes life-drawing
classes at the Academie Colarossi. He makes the acquaintance of
Maurice Utrillo, with whom he will remain friends throughout his
life. In the autumn he meets the German painter Ludwig Meidner, who
describes him as the "last, true bohemian".
1907 The painter Henri Doucet takes Modigliani along to the house
on the Rue de Delta, which the young doctor Paul Alexandre and his
brother have established to support young artists. Alexandre becomes
Modigliani's first patron. He buys paintings and drawings from him
and gets him commissions for portraits. Modigliani is probably
represented with a few works in the autumn Salon. He visits the
Cezanne retrospective and is deeply impressed. His paintings are strongly oriented towards Symbolist models as well as the
painting of Toulouse-Lautrec and Edvard Munch.
1908 Modigliani exhibits six paintings in the Salon des Independants,
including The Jewess. Despite his poor health, he participates in
the sensual, dissipated life of the artists on Montmartre. He moves
house several times.
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Fruitful Ideas
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Perhaps it is the name. Amedeo Modigliani - it sounds like an
elegiac melody, like a well-chosen name for a tragic, poetic figure
in a novel, and perhaps it also has something to do with the fact
that Modigliani, who has always fired the imagination, was not a
figure who called forth factual and sober description. And this
sensual-sounding name is not even a pseudonym. Amedeo Modigliani is
the name of the artist who was born on July 12, 1884, in Livorno
(Leghorn), Italy, into a bourgeois Jewish family. His portraits and
nudes were to become some of the most popular pictures of the
twentieth century. No other painter of modern times has been as
heavily burdened with as many legends, myths and cliches as Amedeo
Modigliani. Novels and a play have been written about him, his
Bohemian lifestyle has been excessively idealised in films, and art
criticism is also full of glorifying anecdotes. In contrast to all
of this is the very small number of authenticated documents about
Modigliani's life, so that it really is not easy to recognise the
true Modigliani under all of these fiction-like features. Entwined
with the name of Modigliani are all manner of ideas about the
Bohemian life in Paris, the fateful poverty of the artist and his
grand passions. Modigliani is the prototype of the artist who
executes his work in the draughty studios of Montmartre and
Montparnasse, intoxicated by alcohol, hashish, love and poetry; who,
around the time of World War I, lives in the artistic heart of Paris
and at the same time stands isolated on the fringes of the belle
epoque; who, in the capital city of the European avant-garde,
surrounded by Pablo Picasso (1881-1973), Georges Braque (1882-1963),
Henri Matisse (1869-1954) and Constantin Brancusi (1876-1957), never
seems to waver in pursuing his own path; who experiences little or
no success and is so poor that he can only just pay his bills in the
legendary bars at the junction of the Montparnasse and Raspail
boulevards with quickly sketched portraits of the customers; who
dies - at the young age of 35 - of tuberculosis, penniless and
emaciated at the end of a life which has been entirely devoted to
art. To heighten the tragedy of his life even more, on the day after
his death, his pregnant young fiancee, Jeannne Hebuterne, jumps from
her parents' fifth-floor flat, leaving behind their small daughter
as an orphan.
The few biographical details that did exist were well-suited to
embellishment, thereby becoming an artist's biography par
excellence. The creation of the Modigliani legend began immediately
after his early death in 1920. The main perpetrators in this were
those who had known him the best, the friends and colleagues in
Paris, who often wrote of their impressions of this proud, stubborn
Italian. Although contacts with his family in Livorno during his
years in Paris from 1906 to 1920 were rather lapse, they would also
play a not insubstantial role in the posthumous creation of the
Modigliani myth. To begin with, there was Amedeo's mother, Eugenia
Modigliani, a French lady who must have been remarkably emancipated
for her age.
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Amedeo Modigliani
1915 |
Self-Portrait
1919 |
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She
came from the upper-class Jewish Garsin family in Marseilles and
believed that she was descended from the famous philosopher,
Spinoza. When Eugenia married Flaminio Modigliani, the son of one of
her father's Italian business partners, in 1872 and moved to Livorno,
she had entered a family whose best times were just over. In the
middle of the 1880s, when Amedeo, their fourth and youngest child,
was born, an economic slump in Italy caused the family business in
wood and coal to go bankrupt. Eugenia contributed to the family
income with translations of D'Annunzio's poetry, book reviews
published under a pseudonym and private lessons. Her open mind and
intellectual interests undoubtedly opened the world of literature
and art to Modigliani at an early age. In her diaries, his mother
recounts how Modigliani's interests were fired and writes of the
support that she gave him. Extracts from the diaries were published
after Modigliani's death. It all began with a bad case of pleurisy,
which confined the eleven-year-old Dedo - as he was affectionately
known by his family - to bed for many weeks. "I have still not
recovered from the terrible fright that it gave me", Eugenia
records, and in her concern for her youngest child, she adds: "The
child's character is still so unformed that I cannot say what I
think of it. He behaves like a spoiled brat, but he does not lack
intelligence. We will have to wait and see what is hidden in this
doll. Perhaps an artist?"
He did indeed become an artist but, as family lore had it, a second
decisive factor was needed in order for this to happen. Once again
it was illness that served as a catalyst for Modigliani's career.
When he was fourteen he caught typhoid fever - at the time still a
fatal disease - and, according to his mother, in his delirium her
son revealed his ardent desire to become an artist. He had fantasies
of the masterpieces in Italy's museums and churches and when, as if
by a miracle, he regained his health he was permitted to leave
school and enrol at the art academy in Livorno. One may doubt the
veracity of Modigliani's mother's recollections, as the artist's
daughter, Jeanne Modigliani, does in her biography Modigliani: Man
and Myth; nevertheless, this story fulfils an important function.
Mapped out in Modigliani's childhood were all of the tragic highs
and lows that would determine his later life. It was only by
becoming an artist that he was able to recover and it was this which
allowed his family to legitimise his unconventional life. The pain
and hallucinations of illness ironically helped the young Modigliani
recognise his goal in life, and help us to understand his later
life. The "spoiled brat" becomes a dandy and "the last real
Bohemian". The small, sickly boy in Livorno becomes the great,
suffering artist in Paris, the painter who spares neither his
strength nor his health in the creation of his work.
When Modigliani began his art studies at the age of fourteen, he was
the youngest in his class. The small academy in Livorno was headed
by Guglielmo Micheli (1886-1926), a student of Giovanni Fattori
(1825-1908), the most famous representative of the group of Italian
Impressionists known as the Macchiaioli. Like the French painters
they modelled themselves on - Claude Monet (1840-1926), Auguste
Renoir (1841-1919), Camille Pissarro (1830-1903) and Alfred Sisley
(1839-1899) - the Macchiaioli also sought to bring scenes from
nature to canvas in small blobs of colour (It. macchia: spot,
stain).
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In addition to the training he received in Guglielmo Micheli's
class, Modigliani also attended a life-drawing class in Gino
Romiti's studio in Livorno. In July 1900 Modigliani celebrated his
sixteenth birthday. Once again, however, he fell seriously ill. To
help bring about a more speedy recovery, he spent the winter of 1900/01 in Italy's warmer south
- Naples, Capri and Rome - accompanied by his mother. "... I am now
rich in fruitful ideas and I must produce my work", were the
dramatic words of the young art student to Oscar Ghiglia, his friend
from the art academy in Livorno, to whom he wrote a number of
letters during this period of convalescence and study. Modigliani's
enthusiasm for Rome was boundless: "... As I speak to you, Rome is
not outside but inside me, like a terrible jewel set upon its seven
hills as upon seven imperious ideas. Rome is the orchestration which
girds me, the circumscribed arena in which I isolate myself and
concentrate my thoughts. Her feverish sweetness, her tragic
countryside, her own beauty and harmony, all these are mine, for my
thought and my work".
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In the spring of 1901, Modigliani followed Ghiglia - nine years his
senior - to Florence where, after once again spending the winter in
Rome, he enrolled at the Scuola libera di Nudo (Free School for Nude
Studies). In 1903 he went with Ghiglia to Venice, where he also took
life-drawing classes. He was quickly at home in Venice's world of
cafes and artists. At the time, he was a young man with "... a
graceful countenance and gracious features. Neither tall nor short,
he was slim and dressed with simple elegance"; this is how the painter Ardengo Soffici (1879-1964) remembers him from
his visit to Venice in 1903. He found Modigliani to be a
knowledgeable guide to the city. Soffici was impressed by
Modigliani's "passionate interest in the painting techniques of the
Sienese Trecento painters, and particularly in the Venetian,
Carpaccio, whom he seemed to love the most at the time".
Modigliani appears to have spent the time before he moved to Paris
more in the intensive study of Italian art history than in any
further training as an artist. Nevertheless, his studies in Italy,
the visits to original paintings and sculptures and thus the
appreciation of an art historical tradition, the discovery of "forms
full of beauty and harmony", as he put it in his letter from Rome,
were some of the most important foundations for the later
development of Modigliani's art. If Modigliani took in more than he
produced during the time he was in Venice, his friend Oscar Ghiglia,
with whom he shared a studio for a time, was all the more
industrious. In 1903 Ghiglia succeeded in showing a painting - a
rather traditional portrait of a woman - at the Venice Biennial. At
this exhibition, contemporary painting was chiefly represented by
the now universally respected French Impressionists. As far as
sculpture was concerned, great homage was paid to the genius of
Auguste Rodin (1840-1917). There were, however, also many works
which can be
described as Symbolist, many dream-like pictures with surreal
scenarios; these must have had a strong impression on Modigliani,
who loved the poems of Baudelaire and Rimbaud. Unlike Impressionism,
which had originated solely in France, at the end of the nineteenth
century Symbolism was a pan-European movement, encompassing
literature as well as the fine arts. The Symbolists shared a common
goal, namely to create pictures that were contrary to visible
reality. Through the irrational contents of their pictures, they
wished to show that another, hidden reality could at least be
conceived. The end of the nineteenth century saw Sigmund Freud in
Vienna researching the effects of hallucinogenic drugs and hypnosis
and preparing his seminal work on the interpretation of dreams. At
the same time, artists such as the Belgian Fernand Khnopff
(1858-1921) and James Ensor (1860-1949), the French Odilon Redon
(1840-1916) and Gustave Moreau (1826-1898), the Norwegian Edvard
Munch (1863-1944) and the Austrian Alfred Kubin (1877-1959) were
attempting to develop pictorial symbols for spiritual and mystic
contents, for psychological moods and for suggestive apparitions in
dreams.
There are too few surviving paintings from Modigliani's student
years to allow one to ascertain a direct influence of Symbolist
painting. Later, however, during the first years in Paris, a few
paintings adopted the motifs of fin de siecle painting. These
include the half-figure Sorrowful Nude of 1908. If one
compares Modigliani's gaunt, female figure to the figures of the
Belgian Art Nouveau painter, George Minne (1886-1941), or with
Edvard Munch's lithograph Madonna, the similarity in the perception
of the body becomes all too evident. In the motif of the head bent
back and the mouth slightly opened as if in pain, suffering and
ecstasy, sensuality and pain are rendered as being close to each
other. These figures present themselves to us removed from reality.
They are locked in silence and introspection. All expression of the
individual person is completely hidden behind a mask-like
countenance.
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Pablo Picasso
Woman in a Chemise
1905
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Sorrowful Nude
1908
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The eyes - "mirrors of the soul" - play an unusually important role
in the work of the Symbolist painters. Whether closed as in sleep,
open or blind, they are always a visionary organ, one which can be
directed both outwards and inwards. This is significant for
Modigliani's later development as a painter, insofar as the eyes of
his sitters also take on the visionary role they had already played
for the Symbolists. Moreover, the silent introversion and the
depersonalised visage, in which all subjectivity has been
relinquished for an expression beyond all individualism,
characterise Modigliani's later portraits and document his lasting
intellectual connection to Symbolist painting.
The Venice Biennial of 1903 certainly offered art which was new and
exciting, but did not display the latest trends. After spending two
years in Venice, Modigliani took the only step possible for a young,
ambitious artist of this time: he went to Paris.
Paris in 1906: France's capital had 2.73 million inhabitants, and
978 kilometres of streets; the boulevards designed by Haussmann were
the pride of the Parisians. 9,622 arc lamps and almost half a
million electric light bulbs illuminated the "city of lights", whose
emblem had become the Eiffel Tower built for the World Exposition in
1889. "In the richness and diversity of its art treasures, Paris
stands alone" was how an encyclopedia of 1906 put it. Under the
entry "fortification" it reads: "While Paris in 1840 was an open
city, it is now the world's largest military fortification".
Modigliani arrived in Paris eight years before the outbreak of World
Warl. These years were amongst the most eventful in the history of
European art. It was during these years that the seeds were sown of
further developments in the twentieth century - a process that was
violently interrupted by the first international catastrophe of the
twentieth century. In the Paris of 1906, however, there were no
signs of an approaching war for an Italian artist looking to the
future. Other things - which, at the time, could not be read about
in an encyclopedia - were of far greater importance to him. He would
have been interested in the fact that Paris was the unqualified
capital of European avant-garde painting; that many progressive art
dealers in the city were on the lookout for young talent; that only
in the preceding year a violently colourful and wild style of
painting had conquered the Salon d'Automne. This was a style linked
to the unknown names of Henri Matisse, Andre Derain (1880-1954) and
Maurice de Vlaminck (1876-1958), upon whom the critics had bestowed
the sarcastic name "Les Fauves" ("wild beasts"). Modigliani would
also have been interested in the fact that the art scene was still
centred around Montmartre - indeed, that it had actually just been
renewed and rejuvenated by figures such as Picasso, Juan Gris (1887—
1927) and other residents of the legendary Bateau Lavoir - and that
this area still had the reputation for good times in the cafes,
theatres and dance halls which had been immortalized by Henri de
Toulouse-Lautrec (1864-1901). Paris in 1906: the start of the second
phase of the modern movement. With the death of Paul Cezanne
(1839-1906) on October 22, 1906, the last - after Vincent van Gogh
(1853-1890) and Paul Gauguin (1848-1903) - of the three
Post-Impressionist "founding fathers of the modern movement" had
died. In the same year, the French state bought Edouard Manet's
(1832-1883) Dejeuner sur I'herbe, a work that had been considered
outrageously modern in 1863. Its depiction of a naked woman at a picnic in the forest with properly dressed gentlemen had caused
an enormous scandal in the French art world.
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Being the good, bourgeois boy that he was, Modigliani first stayed
in a comfortable hotel on the right bank of the Seine upon his
arrival in Paris. Soon, however, he moved up to Montmartre where,
according to the art critic Adolphe Basler, his quick wit and good
looks "quickly made him popular". One of Modigliani's first
friendships in Paris was formed with the German artist Ludwig
Meidner (1844-1966), who had come to Paris for one year to study at
the Academie Julian. Meidner later recalled Modigliani's early days
in Paris and, like Basler, he emphasised the impression that
Modigliani made on those around him. "In the first decade of our
century, one still had a taste for the Bohemian life that had
developed in the nineteenth century; in Paris - on Montmartre and
Montparnasse - the last representatives of this world were the
sophisticated and spoiled sons of the old bourgeoisie. Our
Modigliani - or 'Modi' as he was called - was a characteristic and,
at the same time, highly talented representative of Bohemian
Montmartre; he was probably even its last true Bohemian." Meidner
also records, however, that he was impressed by the open-mindedness,
esprit and commitment shown by Modi (whose nickname was undoubtedly
an illusion to the peintre maudit, or "accursed painter"). And here,
too, the Italian origins play an important role. "Never before had I
heard a painter speak of beauty with such fire. He showed me
photographs of works by early Florentine masters whose names I did
not yet know."
In 1907, Modigliani probably participated in the Salon d'Automne
(Autumn Salon) in the Grand Palais. Founded a few years earlier, it
was reserved for the avant-garde. This exhibition forum, where no
jury presided, was still dominated by the Fauvists, whose expressive
application of colour represented a further step towards the
autonomy of the pictorial plane and away from the illusionistic
reproduction of objects. Van Gogh had already shown that pure, unmixed colours could serve to express moods.
Gauguin, whose contribution to the development of the modern
movement lay in his radical concentration on the pictorial surface,
had said: "Before one even knows what the picture represents, one is
immediately seized by the magical chords of its colours". Even more
radical was Matisse's observation made a short time afterwards:
"Seek the strongest colour effect possible - the content is of no
importance".
Modigliani's tentative searching in the midst of the different
avant-garde movements is apparent in his portrait The
Jewess. The statuesque, severe-looking figure betrays the influence
of the linear style of Toulouse-Lautrec. There are also echoes of
the emaciated figures of Picasso's Blue Period. Despite the loose
brushwork, The Jewess is an extremely measured painting whose main
aim lies not in achieving an autonomy in the use of colours and
planes, but rather in conveying a mood. Scepticism, restraint and
the sitter's challenging gaze all demonstrate the painter's interest
in the psychology of his subject. There are, however, also parts of
this picture which are strongly defined by the purely painterly
treatment of the surface, such as the field of colour in the lower
right-hand corner to which no concrete object can be assigned.
Modigliani must have taken notice of Maurice Denis' (1870-1943)
classic definition, namely that "a picture, before being a battle
charger, a nude woman or a story, is essentially a flat surface
covered with colours arranged in a certain pattern".
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Studi for The Jewess
1908
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The
Jewess
1908 |
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When this painting was exhibited in 1908 in the Salon des
Independants,
the explosive colours of Fauve painting still
dominated the scene.
In contrast, Modigliani's more muted palette
was oriented towards Henri de Toulouse-Lautrec and Edvard Munch.
Paul Cezanne, who died in 1906 and whose retrospective Modigliani
visited in 1907,
also exerted a lasting influence on Modigliani's
painting.
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Portrait of Maude Abrantes
1907 |
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Pablo Picasso
Les Demoiselles d'Avignon
1907 |
Nevertheless, Modigliani's pictures differed from those which reaped
success - albeit often too rashly - in the turbulent pre-war years.
When The Jewess was exhibited in the Salon des Independants in 1908
the hectic wheel of art "-isms" had turned once again. Cubism came
on the scene, shattering conventional notions of space and
perspective and thereby ways of looking at paintings. Pablo Picasso
- whose Les Demoiselles d'Avignon of 1907 was the
introduction to Cubist painting - and Georges Braque were the new
heroes of the art world, and Modigliani's work was barely noticed.
The most influential critic and poet of the age, Guillaume Apollinaire
(1880-1918), did mention Modigliani's name in his discussion
of the Salon, although he only "looked briefly" at his
exhibited works.
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Female Nude with Hat
1908 |
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Seated Nude
1908
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