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resenting him in 1914 (Figure 23). Guillaume also represented Picasso and Brancusi. Despite the paucity of opportunities in war torn Europe, he found Modigliani a and arranged several new studio in Montmartre, shows of the artist’s work. One was at the Whitechapel Gallery in London; another at the 1916 exhibition of fashion designer Germaine Bongard. Two sculptures were displayed with Brancusi’s in an ] Exhibition of Sculpture held at the Modern Gallery in New York. Modigliani’s work was applauded in leading art publications

Figure 23 resenting him in 1914 (Figure 23). Guillaume also represented Picasso and Brancusi. Despite the paucity of opportunities in war torn Europe, he found Modigliani a and arranged several new studio in Montmartre, shows of the artist’s work. One was at the Whitechapel Gallery in London; another at the 1916 exhibition of fashion designer Germaine Bongard. Two sculptures were displayed with Brancusi’s in an ] Exhibition of Sculpture held at the Modern Gallery in New York. Modigliani’s work was applauded in leading art publications

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Figure 1. The Maquis of Montmartre in 1907. From, http://www. paris-unplugged.fr/1890-le-maquis-de montmartre/580029_34 0654149354401_1900036573_n/ Montparnasse was a new urban zone on the left bank of the Seine, just twenty minutes from the Eiffel Tower. The name comes from Mount Parnas sus, home to the nine muses of Greek mythology It takes about two hours to walk the 8 km or sc from the intersection of the boulevards Raspail anc Montparnasse to the white onion dome of the Basi ique du Sacré Coeur in Montmartre. After rea estate investors bought up vacant land around the hilltop village, rising prices drove poets, painters avant-garde politicians and philosophers to Mont: parnasse”, In the years leading up to and after the Great War, everyone gathered for warmth, toilet facilities, conversation, and camaraderie at its ca- fés. At La Rotonde (Figure 2), for example, owne! Victor Libion, let impoverished painters work anc drink at his tables, collecting drawings and othe tokens as payment for their libations”. Not fai away, at 3 Rue Campagne-Premier, was a modest cremerie that served secondarily as a restaurant Amidst rows of wooden tables surrounded by backless benches, Rosalie Tobia, an older womar "The neighborhood was to become the artistic and intellectual hub of Paris by the roaring 1920s, also known as Les Années Folles. _—wnMy Cee eee eee eee) eee Eee NE NN ACO ? 2 The large Monparnasse-Bienvenu subway station (its name was changed from Montparnasse to Avenue du Maine in 1910, then again in 1933 in honor of FulgenceBienvenu, the principal architect of the Paris Metro) is 500 meters from Le Dome. Around the corner from La Rotonde is the Rue Vavin, a small neighborhood street which connects the Blvd de Montparnasse with the Jardin du Luxembourg, where the grounds of a seventeenth century palace were transformed into a park. The Metro Vavin (named after statesman AlexisiVavin) is only 20 meters from le Café de La Rotonde. Steps away, at the corner of Boulevard Raspail and Boulevard Montparnasse (now called Place Pablo Picasso), stands Rodin’s famous bronze statue of Balzac. It was placed there in 1939.
Figure 1. The Maquis of Montmartre in 1907. From, http://www. paris-unplugged.fr/1890-le-maquis-de montmartre/580029_34 0654149354401_1900036573_n/ Montparnasse was a new urban zone on the left bank of the Seine, just twenty minutes from the Eiffel Tower. The name comes from Mount Parnas sus, home to the nine muses of Greek mythology It takes about two hours to walk the 8 km or sc from the intersection of the boulevards Raspail anc Montparnasse to the white onion dome of the Basi ique du Sacré Coeur in Montmartre. After rea estate investors bought up vacant land around the hilltop village, rising prices drove poets, painters avant-garde politicians and philosophers to Mont: parnasse”, In the years leading up to and after the Great War, everyone gathered for warmth, toilet facilities, conversation, and camaraderie at its ca- fés. At La Rotonde (Figure 2), for example, owne! Victor Libion, let impoverished painters work anc drink at his tables, collecting drawings and othe tokens as payment for their libations”. Not fai away, at 3 Rue Campagne-Premier, was a modest cremerie that served secondarily as a restaurant Amidst rows of wooden tables surrounded by backless benches, Rosalie Tobia, an older womar "The neighborhood was to become the artistic and intellectual hub of Paris by the roaring 1920s, also known as Les Années Folles. _—wnMy Cee eee eee eee) eee Eee NE NN ACO ? 2 The large Monparnasse-Bienvenu subway station (its name was changed from Montparnasse to Avenue du Maine in 1910, then again in 1933 in honor of FulgenceBienvenu, the principal architect of the Paris Metro) is 500 meters from Le Dome. Around the corner from La Rotonde is the Rue Vavin, a small neighborhood street which connects the Blvd de Montparnasse with the Jardin du Luxembourg, where the grounds of a seventeenth century palace were transformed into a park. The Metro Vavin (named after statesman AlexisiVavin) is only 20 meters from le Café de La Rotonde. Steps away, at the corner of Boulevard Raspail and Boulevard Montparnasse (now called Place Pablo Picasso), stands Rodin’s famous bronze statue of Balzac. It was placed there in 1939.
Figure 2. Café de la Rotonde, Early 1900’s Montparnasse. From, http://joellek.j.o.pic.centerblog.net/fupoveuo.jpg.
Figure 2. Café de la Rotonde, Early 1900’s Montparnasse. From, http://joellek.j.o.pic.centerblog.net/fupoveuo.jpg.
Figure 3. The Bateau-Lavoire, rebuilt, Montmartre 2014 (Col photo).
Figure 3. The Bateau-Lavoire, rebuilt, Montmartre 2014 (Col photo).
Figure 4. Modigliani with long cravat, 1908. Kulver/Martin archive, from Modigliani: a life, Jeffrey Myers, pg 114.
Figure 4. Modigliani with long cravat, 1908. Kulver/Martin archive, from Modigliani: a life, Jeffrey Myers, pg 114.
Figure 5. Giovanni Fattori (1825-1908), Macchiaioli school, 1886 RotondaPalmieri. From http://www.giovannifattori.com/ en/giovanni-fattori/oeriodo-livornese- 1860-1867. Within a year of joining Micheli’s studio, two of Amedeo’s fellow students contracted tuberculosis and died. Dedo had a recurrent bout of pleurisy that summer, and in September, 1900, his sister wrote that “he suffered a violent hemorrhage fol- lowed by a fever, and the doctor’s diagnosis held out no hope”. Coughing up blood was a fearful sign of advanced disease. Physicians likely told Modigliani’s family that he had consumption; the contagious, incurable, and ultimately fatal disease
Figure 5. Giovanni Fattori (1825-1908), Macchiaioli school, 1886 RotondaPalmieri. From http://www.giovannifattori.com/ en/giovanni-fattori/oeriodo-livornese- 1860-1867. Within a year of joining Micheli’s studio, two of Amedeo’s fellow students contracted tuberculosis and died. Dedo had a recurrent bout of pleurisy that summer, and in September, 1900, his sister wrote that “he suffered a violent hemorrhage fol- lowed by a fever, and the doctor’s diagnosis held out no hope”. Coughing up blood was a fearful sign of advanced disease. Physicians likely told Modigliani’s family that he had consumption; the contagious, incurable, and ultimately fatal disease
Figure 6. Acid-fast stain of Mycobacterium Tuberculosis (red elongated rods). From, http://textbookofbacteriology.net/tuber- culosis.html Mycobacterium Tuberculosis bacillus (MTB) is a large, nonmotile rod-shaped bacterium. It is the etiologic agent for tuberculosis in humans (Figure 6)°°. MTB was identified in the 9,000 year old skeletal remains from a woman and child at the Atli-Yam archeological site °. The disease
Figure 6. Acid-fast stain of Mycobacterium Tuberculosis (red elongated rods). From, http://textbookofbacteriology.net/tuber- culosis.html Mycobacterium Tuberculosis bacillus (MTB) is a large, nonmotile rod-shaped bacterium. It is the etiologic agent for tuberculosis in humans (Figure 6)°°. MTB was identified in the 9,000 year old skeletal remains from a woman and child at the Atli-Yam archeological site °. The disease
Figure 7. Laennec at the Necker Hospital Auscultating a Tuber- culosis Patient in Front of His Studentsby Theobald Chartran (1849-1907). In the National Library of Medicine, Bethesda, Maryland. With his ear to the patient's chest, Laennec holds his stethoscope in his left hand. From, http:/Awww.royal-painting. com/largeimg/Theobald%20Chartran/51838-Theobald%20 Chartran-Rene%20Laennec. jpg. Attention was turned to the streets of Paris, where poor hygiene and slum-housing were almost
Figure 7. Laennec at the Necker Hospital Auscultating a Tuber- culosis Patient in Front of His Studentsby Theobald Chartran (1849-1907). In the National Library of Medicine, Bethesda, Maryland. With his ear to the patient's chest, Laennec holds his stethoscope in his left hand. From, http:/Awww.royal-painting. com/largeimg/Theobald%20Chartran/51838-Theobald%20 Chartran-Rene%20Laennec. jpg. Attention was turned to the streets of Paris, where poor hygiene and slum-housing were almost
Figure 8. French 1916 public health poster “Spitting on the ground endangers lives.” From, http://www.ebay.com/itm/1916- VINTAGE-FRENCH-FRANCE-TUBERCULOSIS-PREVENTION- MEDICINE-ANTI-SPITTING-POSTER-/121 169701793. everywhere except around grand boulevards and the more prominent neighborhoods. It is “above all, unsanitary housing, lacking air and sunlight that is the great auxiliary of tuberculosis,” Amo- dru announced to the nation. But there was also another problem at the forefront of the times. Absinthe production had increased so much that it was ess expensive than wine. From 1876 to 1900, the nation’s annual consumption soared from 1,000,000 liters to 21,000,000 liters (Figure 9). Al- coho ic beverages of all kinds were sold in buvettes (drink-stands); at street corners, vegetable shops, and tobacco stores as well as in the numerous restaurants, cafés, and cabarets. If tuberculosis was a national peril, it was accompanied by that
Figure 8. French 1916 public health poster “Spitting on the ground endangers lives.” From, http://www.ebay.com/itm/1916- VINTAGE-FRENCH-FRANCE-TUBERCULOSIS-PREVENTION- MEDICINE-ANTI-SPITTING-POSTER-/121 169701793. everywhere except around grand boulevards and the more prominent neighborhoods. It is “above all, unsanitary housing, lacking air and sunlight that is the great auxiliary of tuberculosis,” Amo- dru announced to the nation. But there was also another problem at the forefront of the times. Absinthe production had increased so much that it was ess expensive than wine. From 1876 to 1900, the nation’s annual consumption soared from 1,000,000 liters to 21,000,000 liters (Figure 9). Al- coho ic beverages of all kinds were sold in buvettes (drink-stands); at street corners, vegetable shops, and tobacco stores as well as in the numerous restaurants, cafés, and cabarets. If tuberculosis was a national peril, it was accompanied by that
Figure 9. Absinthe with spoon: Downloaded From http://coc- ktails365.net/20 10/06/13/bonus-post-%E2%80%94%C2% AOabsinthe-traditional-presentation/ Accessed August 20, 2014.
Figure 9. Absinthe with spoon: Downloaded From http://coc- ktails365.net/20 10/06/13/bonus-post-%E2%80%94%C2% AOabsinthe-traditional-presentation/ Accessed August 20, 2014.
Figure 10. Early twentieth century public health poster: “Tuber- culosis the great scourge.” Lithographe by F. Galais (1917). The grim reaper is floating in the background. From: http://www.loc. gov/pictures/item/99613502. Furthermore, members of the bourgeoisie were fearful. They considered tuberculosis a sign of the social and moral decay of a growing working class
Figure 10. Early twentieth century public health poster: “Tuber- culosis the great scourge.” Lithographe by F. Galais (1917). The grim reaper is floating in the background. From: http://www.loc. gov/pictures/item/99613502. Furthermore, members of the bourgeoisie were fearful. They considered tuberculosis a sign of the social and moral decay of a growing working class
Figure 11. Tuberculosis: Chest radiography showing trapped left lung, thoracoscopic view of inflamed tuberculous lesions on parietal pleural, and bronchoscopic view of caseating necrosis in an inflamed airway (photos courtesy H. Colt).
Figure 11. Tuberculosis: Chest radiography showing trapped left lung, thoracoscopic view of inflamed tuberculous lesions on parietal pleural, and bronchoscopic view of caseating necrosis in an inflamed airway (photos courtesy H. Colt).
Figure 12. Bottle of Heroin and paregoric. From http://www. oddee.com/item_96498.aspx and https://c1.staticflickr. com/9/8026/7 142960845_d3401385e1_z.jpg.
Figure 12. Bottle of Heroin and paregoric. From http://www. oddee.com/item_96498.aspx and https://c1.staticflickr. com/9/8026/7 142960845_d3401385e1_z.jpg.
Figure 13. Cristobal Rojas (1857-1890,) la Miseria 1886. The artist himself had tuberculosis (galleria de Arte Nacional, Cara- cas, Venezuela). From: http://upload.wikimedia.org/wikipedia/ commons/8/8d/Cristobal_Rojas_37a.JPG The paucity of effective pharmaceutical treat- ments probably led to recommendations of more progressed to the morbid phase marked by hemop- tysis and death. Galen (200 AD), who had described tubercles (nodules) and scrofula (enlargement of lymph nodes of the neck), said treatment was challenging because the lung was always moving as part of the breathing process. He suggested rest, opium, and wiping the patient’s feet with butter. If they had scrofula, they could be touched by a king or queen (the touching cure for scrofula actually dates to Clovis in 496 AD). Sea travel was proposed by British physician, Scot Ebenezer Gilchrist in 1769, and even horseback riding was believed to be beneficial. The British poet, John Keats was fool- ishly told that starvation and lying still in a dark room with closed windows would delay galloping consumption (Figure 13). Many patients allowed themselves to be bled, consistent with the “four humors” concept of disease still espoused by some medical practitioners®. Others were offered an ever-changing number of herbs and spices. Hos- pitals resisted admitting patients with advanced disease because they did not want to be known as places to die. Instead, physicians encouraged home care, which was both more practical and less expensive. By the late 19* century, the still incur- able wasting disease had become romanticized by poets, novelists and opera librettists®”.
Figure 13. Cristobal Rojas (1857-1890,) la Miseria 1886. The artist himself had tuberculosis (galleria de Arte Nacional, Cara- cas, Venezuela). From: http://upload.wikimedia.org/wikipedia/ commons/8/8d/Cristobal_Rojas_37a.JPG The paucity of effective pharmaceutical treat- ments probably led to recommendations of more progressed to the morbid phase marked by hemop- tysis and death. Galen (200 AD), who had described tubercles (nodules) and scrofula (enlargement of lymph nodes of the neck), said treatment was challenging because the lung was always moving as part of the breathing process. He suggested rest, opium, and wiping the patient’s feet with butter. If they had scrofula, they could be touched by a king or queen (the touching cure for scrofula actually dates to Clovis in 496 AD). Sea travel was proposed by British physician, Scot Ebenezer Gilchrist in 1769, and even horseback riding was believed to be beneficial. The British poet, John Keats was fool- ishly told that starvation and lying still in a dark room with closed windows would delay galloping consumption (Figure 13). Many patients allowed themselves to be bled, consistent with the “four humors” concept of disease still espoused by some medical practitioners®. Others were offered an ever-changing number of herbs and spices. Hos- pitals resisted admitting patients with advanced disease because they did not want to be known as places to die. Instead, physicians encouraged home care, which was both more practical and less expensive. By the late 19* century, the still incur- able wasting disease had become romanticized by poets, novelists and opera librettists®”.
Figure 14. Modigliani in bowtie and jacket at La Ruche, 1914. From, http://upload.wikimedia.org/wikipedia/commons/3/37/ Amedeo-modigliani-at-la-ruche-1914.jpg.
Figure 14. Modigliani in bowtie and jacket at La Ruche, 1914. From, http://upload.wikimedia.org/wikipedia/commons/3/37/ Amedeo-modigliani-at-la-ruche-1914.jpg.
Figure 15. Sienese master painter Neroccio Di Bartolomeo Di Benedetti De Landi (1447-1500): The virgin and child between St John the Baptist and St Anthony. From http://www.artclon. com/OtherFile/NEROCCIO%20DI%20BARTOLOMEO%20 DI%20BENEDETTO%20DE%20LANDI-XX-The%20virgin%20 and%20child%20between%20st%20john%20the%20bap- tist%20and%20st%20anthony. jpg. It was late fall of 1905 or early 1906, when Modigliani arrived in Paris by train. At first, he lived in a chic section of the 8 arrondissment called La Madeleine, near where the Rue Royal connects the Church of the Madeleine to the Place de la Concorde™. The city had maintained its fin de siécle splendor and was hailed as a jewel of modern Europe. The Eiffel Tower was the capital’s
Figure 15. Sienese master painter Neroccio Di Bartolomeo Di Benedetti De Landi (1447-1500): The virgin and child between St John the Baptist and St Anthony. From http://www.artclon. com/OtherFile/NEROCCIO%20DI%20BARTOLOMEO%20 DI%20BENEDETTO%20DE%20LANDI-XX-The%20virgin%20 and%20child%20between%20st%20john%20the%20bap- tist%20and%20st%20anthony. jpg. It was late fall of 1905 or early 1906, when Modigliani arrived in Paris by train. At first, he lived in a chic section of the 8 arrondissment called La Madeleine, near where the Rue Royal connects the Church of the Madeleine to the Place de la Concorde™. The city had maintained its fin de siécle splendor and was hailed as a jewel of modern Europe. The Eiffel Tower was the capital’s
Figure 16. Modigliani, portrait of Dr. Paul Alexandre, seated three quarter, charcoal on paper. From, The Unknown Modigliani, Alexandre catalogue no. 352. In late, 1907, the painter Henri Doucet brought Modigliani to 7, Rue du Delta, a house with twelve rooms facing an open meadow fenced off from the street in the working district of Montmartre. Doucet had met Modigliani at the Lapin Agile, a hangout for impoverished artists. Modi was being evicted from his studio on the Place Jean-Baptist Clement and had nowhere to go. The house was rented by Dr. Paul Alexandre, a 26 year well-to-do dermatologist who had interned at Lariboisiere Hospital and had a medical practice nearby (Fig- ure 16). The doctor was an avid art enthusiast as well as a generous friend and patron. He began collecting Modigliani’s work, and would amass more than 400 drawings, 25 paintings and several stone sculptures during the next six years®® “© (), He exhibited Modigliani’s paintings on the delta home’s walls, and commissioned Modi for a series of family portraits.
Figure 16. Modigliani, portrait of Dr. Paul Alexandre, seated three quarter, charcoal on paper. From, The Unknown Modigliani, Alexandre catalogue no. 352. In late, 1907, the painter Henri Doucet brought Modigliani to 7, Rue du Delta, a house with twelve rooms facing an open meadow fenced off from the street in the working district of Montmartre. Doucet had met Modigliani at the Lapin Agile, a hangout for impoverished artists. Modi was being evicted from his studio on the Place Jean-Baptist Clement and had nowhere to go. The house was rented by Dr. Paul Alexandre, a 26 year well-to-do dermatologist who had interned at Lariboisiere Hospital and had a medical practice nearby (Fig- ure 16). The doctor was an avid art enthusiast as well as a generous friend and patron. He began collecting Modigliani’s work, and would amass more than 400 drawings, 25 paintings and several stone sculptures during the next six years®® “© (), He exhibited Modigliani’s paintings on the delta home’s walls, and commissioned Modi for a series of family portraits.
In 1909, Modigliani moved to a studio at 14 Cité Falguiére in Montparnasse. Sharing ideas and work space with the Romanian sculptor, Con- stantin Brancusi, rekindled his desire to work in stone (Figure 18). Ill health, however, prompted a return to Livorno, where he painted The Beg- gar, a piece he brought later back to Paris and sold to Paul Alexander before showing it at the Salon des Independents in 1910 (Figure 19). Poor Figure 17. Pencil drawing, Modigliani, The Amazon, black crayon From, The Unknown Modigliani, Alexandre Catelogue no. 344. a return to Livorno, where he painted The Beg-
In 1909, Modigliani moved to a studio at 14 Cité Falguiére in Montparnasse. Sharing ideas and work space with the Romanian sculptor, Con- stantin Brancusi, rekindled his desire to work in stone (Figure 18). Ill health, however, prompted a return to Livorno, where he painted The Beg- gar, a piece he brought later back to Paris and sold to Paul Alexander before showing it at the Salon des Independents in 1910 (Figure 19). Poor Figure 17. Pencil drawing, Modigliani, The Amazon, black crayon From, The Unknown Modigliani, Alexandre Catelogue no. 344. a return to Livorno, where he painted The Beg-
Figure 18. Constantin Brancusi sculpture, Danaidetete. Bronze on limestone, c 1913.From, http://www.tate.org.uk/art/artworks/ brancusi-danaide-t00296.
Figure 18. Constantin Brancusi sculpture, Danaidetete. Bronze on limestone, c 1913.From, http://www.tate.org.uk/art/artworks/ brancusi-danaide-t00296.
Figure 19. Modigliani, The beggar of Livorno 1909, Ceroni ca- talogue no. 24.
Figure 19. Modigliani, The beggar of Livorno 1909, Ceroni ca- talogue no. 24.
Figure 21. Modigliani, Woman's head. Limestone sculpture. From, http://www.metmuseum.org/collection/the-collection-online/ search/486837 and example of Cycladic art (lower left corner) Fromhttp://commons.wikimedia.org/wiki/File: Museum_of_Cycla- dic_Art_-_Head_of_a_Figurine.jpg
Figure 21. Modigliani, Woman's head. Limestone sculpture. From, http://www.metmuseum.org/collection/the-collection-online/ search/486837 and example of Cycladic art (lower left corner) Fromhttp://commons.wikimedia.org/wiki/File: Museum_of_Cycla- dic_Art_-_Head_of_a_Figurine.jpg
Figura 23. Photo of Paul Guillaume ( left), and Modigliani (in dark coat and wearing classic felt hat, center), next to military officers. From, http://parlez-vousphotography.quietplacetolive.com/wp- content/uploads/201 2/1 2/00000.-ModiglianiParisUnknown75.jpg. Figure 22. Modigliani, Beatrice Hastings, 1916, Ceroni catalogue no. 109.
Figura 23. Photo of Paul Guillaume ( left), and Modigliani (in dark coat and wearing classic felt hat, center), next to military officers. From, http://parlez-vousphotography.quietplacetolive.com/wp- content/uploads/201 2/1 2/00000.-ModiglianiParisUnknown75.jpg. Figure 22. Modigliani, Beatrice Hastings, 1916, Ceroni catalogue no. 109.
Figure 24. Les demoiselles d’Avignon, Pablo Picasso, 1907. Museum of Modern Art, New York. From http://upload.wikimedia. org/wikipedia/en/4/4c/Les_Demoiselles_d’Avignon.jpg. There is no doubt that Modi’s technique allowed him to concentrate entirely on what he wanted to extract from the personality of his subjects. There is no doubt that Modi’s technique allowed Modigliani’s stature was confirmed when his paintings were shown alongside those of other greats of the contemporary art scene in what may have been the most important art exhibition of the time; The Salon d’Antin’s L’Art Moderne en France, in July 191647 ©. Here, Picasso exhibited his famous Les Demoiselles d’Avignon (Figure 24)®), Despite Modi’s success, however, he was usually inebriated. Wandering the boulevards of Montparnasse and Montmartre he would offer sketches to people in exchange for a drink. By the end of 1916, he had separated from Beatrice Hastings,®?) and ended a liason with a Canadian consumptive named Simon Thiroux®*), with whom he had a child he refused to acknowledge.
Figure 24. Les demoiselles d’Avignon, Pablo Picasso, 1907. Museum of Modern Art, New York. From http://upload.wikimedia. org/wikipedia/en/4/4c/Les_Demoiselles_d’Avignon.jpg. There is no doubt that Modi’s technique allowed him to concentrate entirely on what he wanted to extract from the personality of his subjects. There is no doubt that Modi’s technique allowed Modigliani’s stature was confirmed when his paintings were shown alongside those of other greats of the contemporary art scene in what may have been the most important art exhibition of the time; The Salon d’Antin’s L’Art Moderne en France, in July 191647 ©. Here, Picasso exhibited his famous Les Demoiselles d’Avignon (Figure 24)®), Despite Modi’s success, however, he was usually inebriated. Wandering the boulevards of Montparnasse and Montmartre he would offer sketches to people in exchange for a drink. By the end of 1916, he had separated from Beatrice Hastings,®?) and ended a liason with a Canadian consumptive named Simon Thiroux®*), with whom he had a child he refused to acknowledge.
Figure 26. Modigliani, Max Jacob, 1916, Ceroni catalogue no 104. Figure 25. Modigliani; Chaim Soutine, 1915, Ceronicatalogue no. 97.
Figure 26. Modigliani, Max Jacob, 1916, Ceroni catalogue no 104. Figure 25. Modigliani; Chaim Soutine, 1915, Ceronicatalogue no. 97.
He painted constantly; some say he completed a new painting every six days. His portraits were of lovers, girlfriends, and colleagues such as Picasso, Kisling, Cocteau, Soutine, Leon Bakst, Lipchitz, Guillaume, as well as of anonymous persons and models (Figures 25, 26, and 27)*”. Paintings named The Seated woman, Man with a hat, Adrienne, and Elvira, were done within a consistent framework
He painted constantly; some say he completed a new painting every six days. His portraits were of lovers, girlfriends, and colleagues such as Picasso, Kisling, Cocteau, Soutine, Leon Bakst, Lipchitz, Guillaume, as well as of anonymous persons and models (Figures 25, 26, and 27)*”. Paintings named The Seated woman, Man with a hat, Adrienne, and Elvira, were done within a consistent framework
Figure 27. Modigliani, Leopold Zborowski 1919, Ceroni catalo- gue no. 310.
Figure 27. Modigliani, Leopold Zborowski 1919, Ceroni catalo- gue no. 310.
Figure 28. Lunia Czechowska 1919, Ceroni catalogue no. 320
Figure 28. Lunia Czechowska 1919, Ceroni catalogue no. 320
Figure 29. Modigliani: Marie 1918, Ceroni catalogue no. 253 The painter’s finances were actually better than they had ever been. “I’m working and if I am sometimes worried, at least I am not as short of money as I was before,” he wrote to his mother. Soon he would tell her he no longer needed an al- lowance™. By 1917, he had met a nineteen year art student by the name of Jeanne Hébuterne (Figure 30)°'. She was nicknamed coconut (noix de coco)
Figure 29. Modigliani: Marie 1918, Ceroni catalogue no. 253 The painter’s finances were actually better than they had ever been. “I’m working and if I am sometimes worried, at least I am not as short of money as I was before,” he wrote to his mother. Soon he would tell her he no longer needed an al- lowance™. By 1917, he had met a nineteen year art student by the name of Jeanne Hébuterne (Figure 30)°'. She was nicknamed coconut (noix de coco)
Figura 30. Photo of Jeanne Hebuterne, age 19. From: http:// upload.wikimedia.org/wikipedia/commons/7/78/Jeanne-hebu- terne-2-at-19-years-Amedeo-modiglian.jpg. because of her pale complexion and reddish brown hair. She studied at the Académie Colarossi, where Modigliani often went to practice life drawings. Her conservative, Catholic parents did not approve of the liaison, and she continued to live at home. Modi’s new manager was an ambitious young Polish art dealer named Leopold Zborowsky, who also represented Utrillo and Soutine. The dealer provided Amedeo with a comfortable apartment in which to prepare a series of nudes that were exhib- ited in a one man show at the Galerie Berthe Weill. A sketch of the naked Jeanne was used on the cover of the exhibit’s catalogue (Figure 31). The
Figura 30. Photo of Jeanne Hebuterne, age 19. From: http:// upload.wikimedia.org/wikipedia/commons/7/78/Jeanne-hebu- terne-2-at-19-years-Amedeo-modiglian.jpg. because of her pale complexion and reddish brown hair. She studied at the Académie Colarossi, where Modigliani often went to practice life drawings. Her conservative, Catholic parents did not approve of the liaison, and she continued to live at home. Modi’s new manager was an ambitious young Polish art dealer named Leopold Zborowsky, who also represented Utrillo and Soutine. The dealer provided Amedeo with a comfortable apartment in which to prepare a series of nudes that were exhib- ited in a one man show at the Galerie Berthe Weill. A sketch of the naked Jeanne was used on the cover of the exhibit’s catalogue (Figure 31). The
Figure 31. Photo of exhibition catalogue showing Modigliani’s sketch of a naked Jeanne Hebuterne.
Figure 31. Photo of exhibition catalogue showing Modigliani’s sketch of a naked Jeanne Hebuterne.
Figure 32. Modigliani: Reclining nude hands on back of head 1917, Ceroni catalogue no. 199.
Figure 32. Modigliani: Reclining nude hands on back of head 1917, Ceroni catalogue no. 199.
“ While Modigliani was in Southern France, nine paintings and fifty drawings were acclaimed Figura 33. Photo of Rachel Osterlind with Modigliani painting of her on shelf behind her.
“ While Modigliani was in Southern France, nine paintings and fifty drawings were acclaimed Figura 33. Photo of Rachel Osterlind with Modigliani painting of her on shelf behind her.
Figura 34. Modigliani: Jeanne Hebuterne with sweater 1918, Ceroni catalogue no. 220. On May 27, 1919, about six months after the armistice, Modigliani returned to Paris, leaving Jeanne and his daughter behind. Bohemian life as it was known was ending*®®’. Europe had been devastated by World War I. Many of the avant- garde artists had been killed, and if not, their sen- timents about life had been permanently altered. Marxism had taken on a new meaning marked by the promises of the Russian revolution. In art and literature, a growing Dada movement was expanded upon by the Surrealists led by Andre Breton. If bohemians had made a claim to live life
Figura 34. Modigliani: Jeanne Hebuterne with sweater 1918, Ceroni catalogue no. 220. On May 27, 1919, about six months after the armistice, Modigliani returned to Paris, leaving Jeanne and his daughter behind. Bohemian life as it was known was ending*®®’. Europe had been devastated by World War I. Many of the avant- garde artists had been killed, and if not, their sen- timents about life had been permanently altered. Marxism had taken on a new meaning marked by the promises of the Russian revolution. In art and literature, a growing Dada movement was expanded upon by the Surrealists led by Andre Breton. If bohemians had made a claim to live life
Figure 36. Jean-Michel Basquiat,1981. AniterReiner Collec- tion.Sold at Christies, May 2014. From http://res.artnet.com/ news-upload/2014/04/Basquiat-Reiner-familly-Collection-untit- led-1981-2.jpg. Figure 35. Sketch of Modigliani reportedly by Jeanne Hebuterne (1919). From Pierre Sichel: Modigliani, a biography, pg 417, EP Dutton, New York, 1967. (Courtesy Vellecchi Editori).
Figure 36. Jean-Michel Basquiat,1981. AniterReiner Collec- tion.Sold at Christies, May 2014. From http://res.artnet.com/ news-upload/2014/04/Basquiat-Reiner-familly-Collection-untit- led-1981-2.jpg. Figure 35. Sketch of Modigliani reportedly by Jeanne Hebuterne (1919). From Pierre Sichel: Modigliani, a biography, pg 417, EP Dutton, New York, 1967. (Courtesy Vellecchi Editori).
Figura 37. Modigliani with beard several months before his death, 1919. From, http://c300221.r21.cf1.rackcdn.com/amedeo- modigliani-ritratto-di-bambina-1917-1354918209_b.jpg.
Figura 37. Modigliani with beard several months before his death, 1919. From, http://c300221.r21.cf1.rackcdn.com/amedeo- modigliani-ritratto-di-bambina-1917-1354918209_b.jpg.
Figure 38. Hopital de la Charite, Paris, where Modigliani died January24, 1920. From, http://www.leplaisirdesdieux.fr/LePlaisir- DesDieux/NosAncetresLesInternes/Hopitaux/charite/charite2. jpg.
Figure 38. Hopital de la Charite, Paris, where Modigliani died January24, 1920. From, http://www.leplaisirdesdieux.fr/LePlaisir- DesDieux/NosAncetresLesInternes/Hopitaux/charite/charite2. jpg.
Montparnasse era una nueva zona urbana en a orilla izquierda del Sena, a solo veinte minutos de la Torre Eiffel. Kl] nombre proviene del Monte Parnaso (Mount Parnassus), hogar de las nueve musas de la mitologia griega. Se tardan alrededor de dos horas en caminar los 8 km aproximadamen- te desde la interseccion de los boulevards Raspail y Montparnasse hasta el domo en forma de cebolla de a Basilique du Sacré Coeur en Montmartre. Lue- go de que inversores en bienes raices compraran tierra vacia alrededor de la colina, el aumento en os precios llev6 a los poetas, pintores y politicos de vanguardia a Montparnasse. En los anos previos e inmediatamente posteriores a la Gran Guerra, a gente se juntaba para obtener calor, utilizar los banos, conversar, y por camaraderia en estos cafés. En La Rotonde (Figura 2), por ejemplo, el dueno Figura 1. El Maquis de Montmartre en 1907. De, http://www. paris-unplugged.fr/1890-le-maquis-de montmartre/580029_34 0654 149354401_1900036573_n
Montparnasse era una nueva zona urbana en a orilla izquierda del Sena, a solo veinte minutos de la Torre Eiffel. Kl] nombre proviene del Monte Parnaso (Mount Parnassus), hogar de las nueve musas de la mitologia griega. Se tardan alrededor de dos horas en caminar los 8 km aproximadamen- te desde la interseccion de los boulevards Raspail y Montparnasse hasta el domo en forma de cebolla de a Basilique du Sacré Coeur en Montmartre. Lue- go de que inversores en bienes raices compraran tierra vacia alrededor de la colina, el aumento en os precios llev6 a los poetas, pintores y politicos de vanguardia a Montparnasse. En los anos previos e inmediatamente posteriores a la Gran Guerra, a gente se juntaba para obtener calor, utilizar los banos, conversar, y por camaraderia en estos cafés. En La Rotonde (Figura 2), por ejemplo, el dueno Figura 1. El Maquis de Montmartre en 1907. De, http://www. paris-unplugged.fr/1890-le-maquis-de montmartre/580029_34 0654 149354401_1900036573_n
Figura 2. Café de la Rotonde, Principios de 1900. De, http:/ joellek.j.o.pic.centerblog.net/fupoveuo.jpg.
Figura 2. Café de la Rotonde, Principios de 1900. De, http:/ joellek.j.o.pic.centerblog.net/fupoveuo.jpg.
Figura 3. El Bateau-Lavoire, reconstruido, Montmartre 2014 (foto Colt). 15K] ajenjo se vertia en un vaso de hielo resquebrajado, sobre el cual se suspendia un terron de azticar en una cuchara perforada. El agua fria se vertia sobre el azticar en el vaso hasta que el azticar se haya disuelto casi completamente, y la bebida tomaba un color verde lechoso agradable. El ajenjo era barato y su fragancia de anis como tan exquisito que podria ser disfrutado por los hombres y mujeres por igual. Oscar Wilde bebia ajenjo hasta que murié, solo y desamparado, el 30 de noviembre 1900.
Figura 3. El Bateau-Lavoire, reconstruido, Montmartre 2014 (foto Colt). 15K] ajenjo se vertia en un vaso de hielo resquebrajado, sobre el cual se suspendia un terron de azticar en una cuchara perforada. El agua fria se vertia sobre el azticar en el vaso hasta que el azticar se haya disuelto casi completamente, y la bebida tomaba un color verde lechoso agradable. El ajenjo era barato y su fragancia de anis como tan exquisito que podria ser disfrutado por los hombres y mujeres por igual. Oscar Wilde bebia ajenjo hasta que murié, solo y desamparado, el 30 de noviembre 1900.
Figure 4. Modigliani con una corbata larga, 1908. Archivo Kulver/ Martin, de "Modigliani: una vida" Jeffrey Myers, pag 114.
Figure 4. Modigliani con una corbata larga, 1908. Archivo Kulver/ Martin, de "Modigliani: una vida" Jeffrey Myers, pag 114.
Figura 5. Giovanni Fattori (1825-1908), escuela Macchiaioli, 1886 Rotonda Palmieri. De http://www.giovannifattori.com/en/ giovanni-fattori/periodo-livornese- 1860-1867. ee ee ee eee ee eee eee em ee ne NN NNN ND Re Ne Net NGA END Para Abril de 1899, Dedo se habia recuperado completamente. Su madre escribio en su diario que él habia abandonado sus estudios para dedicarse completamente al dibujo y la pintura. Se anoté en una pequena clase con un artista local llamado Guglielmo Micheli, un seguidor de la escuela de Macchiaioli. El Macchiaioli (de la palabra macchia, que significa mancha o borr6n), eran pintores florentinos y napolitanos que utilizaban pequenos parches de color como base fundamental para pintar en una combinacion de colores pasteles brillantes y colores oscuros. Precursores de los movimientos francés impresionista y modernista, el Macchioaoli cred un movimiento que iba en contra de los estilos neoclasico y romantico de la época. Giovani Fattori®”, uno de los miembros mas reconocidos del grupo, iba ocasionalmente al estudio de Micheli a trabajar con algunos de sus estudiantes (Figura 5).
Figura 5. Giovanni Fattori (1825-1908), escuela Macchiaioli, 1886 Rotonda Palmieri. De http://www.giovannifattori.com/en/ giovanni-fattori/periodo-livornese- 1860-1867. ee ee ee eee ee eee eee em ee ne NN NNN ND Re Ne Net NGA END Para Abril de 1899, Dedo se habia recuperado completamente. Su madre escribio en su diario que él habia abandonado sus estudios para dedicarse completamente al dibujo y la pintura. Se anoté en una pequena clase con un artista local llamado Guglielmo Micheli, un seguidor de la escuela de Macchiaioli. El Macchiaioli (de la palabra macchia, que significa mancha o borr6n), eran pintores florentinos y napolitanos que utilizaban pequenos parches de color como base fundamental para pintar en una combinacion de colores pasteles brillantes y colores oscuros. Precursores de los movimientos francés impresionista y modernista, el Macchioaoli cred un movimiento que iba en contra de los estilos neoclasico y romantico de la época. Giovani Fattori®”, uno de los miembros mas reconocidos del grupo, iba ocasionalmente al estudio de Micheli a trabajar con algunos de sus estudiantes (Figura 5).
Figura 6. Mancha acido-alcohol resistente de la microbacteria de la tuberculosis (barras rojas alargadas). De http://textbooko- fbacteriology.net/tuberculosis.html!
Figura 6. Mancha acido-alcohol resistente de la microbacteria de la tuberculosis (barras rojas alargadas). De http://textbooko- fbacteriology.net/tuberculosis.html!
Figura 8. Poster francés de salud "Escupir en el suelo hace peligrar vidas". De, http://www.ebay.com/itm/1916-VINTAGE- FRENCH-FRANCE-TUBERCULOSIS-PREVENTION-MEDICINE- ANTI-SPITTING-POSTER-/121 169701793. Figura 7. "Laennec en el Hospital Necker Auscultando a un Paciente Tuberculoso Frente a Sus Estudiantes", por Theobald Chartran (1849 - 1907). En la National Library of Medicine, Bethesda, Maryland. Con su oido en el pecho del paciente, Laennec sostenia su estetoscopio con su mano izquierda. De, http://www.royal-painting.com/largeimg/Theobald%20 Chartran/51838-Theobald%20Chartran-Rene%20Laennec.jpg.
Figura 8. Poster francés de salud "Escupir en el suelo hace peligrar vidas". De, http://www.ebay.com/itm/1916-VINTAGE- FRENCH-FRANCE-TUBERCULOSIS-PREVENTION-MEDICINE- ANTI-SPITTING-POSTER-/121 169701793. Figura 7. "Laennec en el Hospital Necker Auscultando a un Paciente Tuberculoso Frente a Sus Estudiantes", por Theobald Chartran (1849 - 1907). En la National Library of Medicine, Bethesda, Maryland. Con su oido en el pecho del paciente, Laennec sostenia su estetoscopio con su mano izquierda. De, http://www.royal-painting.com/largeimg/Theobald%20 Chartran/51838-Theobald%20Chartran-Rene%20Laennec.jpg.
La atencion vir6o hacia las calles de Paris, donde la falta de higiene y los tugurios estaban casi en todos lados, excepto cerca de los grandes boule- vares y los barrios mas prominentes“. Son “por
La atencion vir6o hacia las calles de Paris, donde la falta de higiene y los tugurios estaban casi en todos lados, excepto cerca de los grandes boule- vares y los barrios mas prominentes“. Son “por
Figura 9. Absenta con cuchara: descargado de http://cocktails365. net/20 10/06/13/bonus-post-%E2%80%94%C2%A0absinthe- traditional-presentation/ Accessed August 20, 2014. Los agresivos intentos por parte del gobierno para revertir estas enfermedades sociales deben
Figura 9. Absenta con cuchara: descargado de http://cocktails365. net/20 10/06/13/bonus-post-%E2%80%94%C2%A0absinthe- traditional-presentation/ Accessed August 20, 2014. Los agresivos intentos por parte del gobierno para revertir estas enfermedades sociales deben
Figura 10. Poster de salud publica de principios del siglo vein- te: "Tuberculosis el gran azote" Litografia de F. Galais (1917). La parca flota en el fondo. De, http://www.loc.gov/pictures/ item/99613502.
Figura 10. Poster de salud publica de principios del siglo vein- te: "Tuberculosis el gran azote" Litografia de F. Galais (1917). La parca flota en el fondo. De, http://www.loc.gov/pictures/ item/99613502.
Figura 11. Tuberculosis: radiografia de pecho que muestra el pulmon izquierdo atrapado, vista toracoscdpica de lesiones tuberculosas inflamadas en la pleural parietal, y vista broncos- cdpica de la necrosis caseosa de una via aérea inflamada (foto cortesia de H. Colt)
Figura 11. Tuberculosis: radiografia de pecho que muestra el pulmon izquierdo atrapado, vista toracoscdpica de lesiones tuberculosas inflamadas en la pleural parietal, y vista broncos- cdpica de la necrosis caseosa de una via aérea inflamada (foto cortesia de H. Colt)
Figura 12. Botella de heroina y calmante. De, http://www. oddee.com/item_96498.aspx and https://c1.staticflickr. com/9/8026/7 142960845_d3401385e1_z.jpg.
Figura 12. Botella de heroina y calmante. De, http://www. oddee.com/item_96498.aspx and https://c1.staticflickr. com/9/8026/7 142960845_d3401385e1_z.jpg.
“A pesar ae la falta de una cura para la tubercu- losis, muchas personas afectadas sobrevivieron, y solo algunos pasaron a la fase morbida marcada por la hem6ptisis y la muerte. Galen (200 AC), quien habia descrito los tuberculos (nédulos) y escrofula (alargamiento de los nédulos linfaticos del cuello), dijo que el tratamiento era desafiante dado que el pulmon siempre se estaba moviendo como parte del proceso de la respiraci6n. El sugeria descanso, opio y el lavado de los pies del paciente con manteca. Si tenian escrofula, podian ser tocados por un rey o reina (la cura mediante el tacto a la escréfula data de Clovis en el 496 AC). En 1769, el médico brita- nico Scot Ebenezer porponian el viaje maritimo e incluso la cabalgata a caballo como beneficiosa. Al poeta britanico John Keats le dijeron que la inani- cidn y el quedarse quieto en una habitacidn oscura con las ventanas cerradas atrasarian el avance de la tuberculosis (Figura 13). Muchos pacientes eran sangrados, en linea con el concepto de la enferme- dad de los “cuatro humores” que atin era utilizado por algunos médicos‘*. A otros pacientes se les ofrecia un cambiante nimero de hierbas y especias. Los hospitales se resistian a admitir pacientes con la enfermedad avanzada porque no querian ser conocidos como lugares donde morir. En cambio, Figura 13. Cristobal Rojas (1857-1890,) la Miseria 1886. El propio artista sufria de tuberculosis (galleria de Arte Nacional, Cara- cas, Venezuela). From: http://upload.wikimedia.org/wikipedia/ commons/8/8d/Cristobal_Rojas_37a.JPG.
“A pesar ae la falta de una cura para la tubercu- losis, muchas personas afectadas sobrevivieron, y solo algunos pasaron a la fase morbida marcada por la hem6ptisis y la muerte. Galen (200 AC), quien habia descrito los tuberculos (nédulos) y escrofula (alargamiento de los nédulos linfaticos del cuello), dijo que el tratamiento era desafiante dado que el pulmon siempre se estaba moviendo como parte del proceso de la respiraci6n. El sugeria descanso, opio y el lavado de los pies del paciente con manteca. Si tenian escrofula, podian ser tocados por un rey o reina (la cura mediante el tacto a la escréfula data de Clovis en el 496 AC). En 1769, el médico brita- nico Scot Ebenezer porponian el viaje maritimo e incluso la cabalgata a caballo como beneficiosa. Al poeta britanico John Keats le dijeron que la inani- cidn y el quedarse quieto en una habitacidn oscura con las ventanas cerradas atrasarian el avance de la tuberculosis (Figura 13). Muchos pacientes eran sangrados, en linea con el concepto de la enferme- dad de los “cuatro humores” que atin era utilizado por algunos médicos‘*. A otros pacientes se les ofrecia un cambiante nimero de hierbas y especias. Los hospitales se resistian a admitir pacientes con la enfermedad avanzada porque no querian ser conocidos como lugares donde morir. En cambio, Figura 13. Cristobal Rojas (1857-1890,) la Miseria 1886. El propio artista sufria de tuberculosis (galleria de Arte Nacional, Cara- cas, Venezuela). From: http://upload.wikimedia.org/wikipedia/ commons/8/8d/Cristobal_Rojas_37a.JPG.
Figura 14. Modigliani, en corbata de mofo y saco en La Ruce, 1914. De: http://upload.wikimedia.org/wikipedia/commons/3/37/ Amedeo-modigliani-at-la-ruche-1914. jpg.
Figura 14. Modigliani, en corbata de mofo y saco en La Ruce, 1914. De: http://upload.wikimedia.org/wikipedia/commons/3/37/ Amedeo-modigliani-at-la-ruche-1914. jpg.
Figura 15. Maestro pintor Sienes Neroccio Di Bartolomeo Di Benedetti De Landi (1447-1500): La virgen y el nifo entre San Juan el Bautista y San Antonio. De: http://www.artclon. com/OtherFile/NEROCCIO%20DI%20BARTOLOMEO%20 DI%20BENEDETTO%20DE%20LANDI-XX-The%20virgin%20 and%20child%20between%20st%20john%20the%20bap- tist%20and%20st%20anthony. jog
Figura 15. Maestro pintor Sienes Neroccio Di Bartolomeo Di Benedetti De Landi (1447-1500): La virgen y el nifo entre San Juan el Bautista y San Antonio. De: http://www.artclon. com/OtherFile/NEROCCIO%20DI%20BARTOLOMEO%20 DI%20BENEDETTO%20DE%20LANDI-XX-The%20virgin%20 and%20child%20between%20st%20john%20the%20bap- tist%20and%20st%20anthony. jog
Figura 16. Modigliani, portrait of Dr. Paul Alexandre, seated three quarter, charcoal on paper. From, The Unknown Modigliani, Alexandre catalogue no. 352.
Figura 16. Modigliani, portrait of Dr. Paul Alexandre, seated three quarter, charcoal on paper. From, The Unknown Modigliani, Alexandre catalogue no. 352.
Su enfoque solia ser el rostro humano. Modiglia- ni desarrollé gradualmente un enfoque personal, estilistico al retrato que resistié las influencias del cubismo y artistas como Picasso. Varias pin- turas de Paul Alexander y su familia muestran una elegancia cada vez mas refinada y una linea firme. En La Amazona (1909), por ejemplo, una famosa pintura de la amante de Jean Alexander, la baronesa Marguerite de Hasse de Villiers, su tema tiene una figura cincelada con contornos nitidos y un traje de montar (Figura 17). Sin embargo, ella se nego a comprar la pintura, porque él pint6 su abrigo de un rico color amarillo/ocre en lugar de rojo original. Figura 17. Dibujo en lapiz, Modigliani, "La Amazona", crayén negro. De "The unknown Modigliani" Catalogo Alezandre nu- mero 344.
Su enfoque solia ser el rostro humano. Modiglia- ni desarrollé gradualmente un enfoque personal, estilistico al retrato que resistié las influencias del cubismo y artistas como Picasso. Varias pin- turas de Paul Alexander y su familia muestran una elegancia cada vez mas refinada y una linea firme. En La Amazona (1909), por ejemplo, una famosa pintura de la amante de Jean Alexander, la baronesa Marguerite de Hasse de Villiers, su tema tiene una figura cincelada con contornos nitidos y un traje de montar (Figura 17). Sin embargo, ella se nego a comprar la pintura, porque él pint6 su abrigo de un rico color amarillo/ocre en lugar de rojo original. Figura 17. Dibujo en lapiz, Modigliani, "La Amazona", crayén negro. De "The unknown Modigliani" Catalogo Alezandre nu- mero 344.
ideas y esp En 1909, Modigliani se trasladé a un estudio en 14 Cité] Falguiére en Montparnasse. Compartir acio de trabajo con el escultor rumano Constantin Brancusi, reaviv6 su deseo de trabajar en piedra (1 Figura 18). La mala salud, sin embargo, lo llev6 a regresar a Livorno, donde pint6 El men- digo, una pieza que mas tarde trajo a Paris y vendié a Paul Alexander antes de mostrarlo en el Salon des Independents en 1910 (Figura 19). La mala salud también impuls6 la visita de su tia Laura. Ella lo llev6 a Normandia, pero volvié rapidamente a sus Figura 18. Escultura de Constantin Brancusi, Danaidetete. Bronce sobre piedra caliza, 1913. De, http://www.tate.org.uk/ art/artworks/brancusi-danaide-t00296.
ideas y esp En 1909, Modigliani se trasladé a un estudio en 14 Cité] Falguiére en Montparnasse. Compartir acio de trabajo con el escultor rumano Constantin Brancusi, reaviv6 su deseo de trabajar en piedra (1 Figura 18). La mala salud, sin embargo, lo llev6 a regresar a Livorno, donde pint6 El men- digo, una pieza que mas tarde trajo a Paris y vendié a Paul Alexander antes de mostrarlo en el Salon des Independents en 1910 (Figura 19). La mala salud también impuls6 la visita de su tia Laura. Ella lo llev6 a Normandia, pero volvié rapidamente a sus Figura 18. Escultura de Constantin Brancusi, Danaidetete. Bronce sobre piedra caliza, 1913. De, http://www.tate.org.uk/ art/artworks/brancusi-danaide-t00296.
Figura 19. Modigliani, "El Mendigo de Livorno" 1909, catalogo Ceroni numero 24.
Figura 19. Modigliani, "El Mendigo de Livorno" 1909, catalogo Ceroni numero 24.
Figura 20. Modigliani, "Cariatide arrodillada sentada sobre sus talo- nes, vista de tres cuartos a la izquierda" 1911, crayén azul 43 x 26,5 cms. Probablemente inspirada por la poeta rusa Anna Akhmatova. De "The Unknown Modigliani" Catalogo Alexandre numero 52. Al dedicar mas de su tiempo a la escultura, sus dibujos se convirtieron en una reminiscencia de Egipto, Khmer, y el arte tribal africano. Hizo gra- fito, carboncillo, tinta, lapiz, acuarela y dibujos de decenas de cariatides en una variedad de poses. La palabra “cariatide” deriva de la palabra griega para una mujer de Caryae; figuras en parte cubiertas, mostradas para sostener las azoteas de templos an- tiguos griegos. A principios del siglo XX, los dibujos no eran vistos por la mayoria de los coleccionistas como obras de arte por si mismos, sino mas bien como piezas preliminares para una pintura 0 una escultura acabada. Los dibujos de Modi no eran meramente preparatorios, sin embargo, muchos parecen ser obras definitivas de arte en si mismos (Figura 20). Las figuras eran dibujadas de perfil y
Figura 20. Modigliani, "Cariatide arrodillada sentada sobre sus talo- nes, vista de tres cuartos a la izquierda" 1911, crayén azul 43 x 26,5 cms. Probablemente inspirada por la poeta rusa Anna Akhmatova. De "The Unknown Modigliani" Catalogo Alexandre numero 52. Al dedicar mas de su tiempo a la escultura, sus dibujos se convirtieron en una reminiscencia de Egipto, Khmer, y el arte tribal africano. Hizo gra- fito, carboncillo, tinta, lapiz, acuarela y dibujos de decenas de cariatides en una variedad de poses. La palabra “cariatide” deriva de la palabra griega para una mujer de Caryae; figuras en parte cubiertas, mostradas para sostener las azoteas de templos an- tiguos griegos. A principios del siglo XX, los dibujos no eran vistos por la mayoria de los coleccionistas como obras de arte por si mismos, sino mas bien como piezas preliminares para una pintura 0 una escultura acabada. Los dibujos de Modi no eran meramente preparatorios, sin embargo, muchos parecen ser obras definitivas de arte en si mismos (Figura 20). Las figuras eran dibujadas de perfil y
Figura 21. Modigliani, Cabeza de mujer. Escultura en piedra caliza. De, http://www.metmuseum.org/collection/the-collection- online/search/486837 and example of Cycladic art (lower left corner) Fromhttp://commons.wikimedia.org/wiki/File:Museum_ of_Cycladic_Art_-_Head_of_a_Figurine.jpg tros alargados, de forma ovalada, con narices como Sélo 25 de las es culturas de piedra de Modigliani han sobrevivido. | el marmol, y fue Kis incierto si él realmente hizo mas. Casi todas fueron talladas directamente en a piedra arenisca 0 caliza, que es mas suave que extraida en su mayoria de un pequeno pueblo francés oriental llamado Euville, aunque la leyenda es que excav6 grandes bloques de las obras de construccién cercanas™, Varian en tamano de 60 a 160 centimetros (Figura 21)”. A excepcidn de una cariatide en cuclillas esculpido en piedra en bruto actualmente expuesto en el Museo de Arte Moderno de Nueva York, y algunas cabezas esculpidas, las piezas tienen el cuello largo y ros- tros alargados, de forma ovalada, con narices como
Figura 21. Modigliani, Cabeza de mujer. Escultura en piedra caliza. De, http://www.metmuseum.org/collection/the-collection- online/search/486837 and example of Cycladic art (lower left corner) Fromhttp://commons.wikimedia.org/wiki/File:Museum_ of_Cycladic_Art_-_Head_of_a_Figurine.jpg tros alargados, de forma ovalada, con narices como Sélo 25 de las es culturas de piedra de Modigliani han sobrevivido. | el marmol, y fue Kis incierto si él realmente hizo mas. Casi todas fueron talladas directamente en a piedra arenisca 0 caliza, que es mas suave que extraida en su mayoria de un pequeno pueblo francés oriental llamado Euville, aunque la leyenda es que excav6 grandes bloques de las obras de construccién cercanas™, Varian en tamano de 60 a 160 centimetros (Figura 21)”. A excepcidn de una cariatide en cuclillas esculpido en piedra en bruto actualmente expuesto en el Museo de Arte Moderno de Nueva York, y algunas cabezas esculpidas, las piezas tienen el cuello largo y ros- tros alargados, de forma ovalada, con narices como
Figura 22. Modigliani, "Beatrice Hastings", 1916. Catalogo Ceroni numero 109.
Figura 22. Modigliani, "Beatrice Hastings", 1916. Catalogo Ceroni numero 109.
Figura 23. Foto de Paul Guillame (izquierda) y Modigliani (en saco oscuro usando clasico sombrero de fieltro, centro) al lado de oficiales militares. De, http://parlez-vousphotography. quiet- placetolive.com/wp-content/uploads/201 2/12/00000.-Modiglia- niParisUnknown75. jpg.
Figura 23. Foto de Paul Guillame (izquierda) y Modigliani (en saco oscuro usando clasico sombrero de fieltro, centro) al lado de oficiales militares. De, http://parlez-vousphotography. quiet- placetolive.com/wp-content/uploads/201 2/12/00000.-Modiglia- niParisUnknown75. jpg.
Figura 24. Les demoiselles d’Avignon, Pablo Picasso, 1907. Mu- seo de Arte Moderno, Nueva York. De http://upload.wikimedia. org/wikipedia/en/4/4c/Les_Demoiselles_d’Avignon.jpg. No hay duda de que la técnica de Modi le per- mitié concentrarse por completo en lo que queria extraer de la personalidad de sus sujetos. Pinté constantemente; algunos dicen que completaba una nueva pintura cada seis dias. Sus retratos eran de sus amantes, novias, y colegas como Picasso, Kisling, Cocteau, Soutine, Leén Bakst, Lipchitz,
Figura 24. Les demoiselles d’Avignon, Pablo Picasso, 1907. Mu- seo de Arte Moderno, Nueva York. De http://upload.wikimedia. org/wikipedia/en/4/4c/Les_Demoiselles_d’Avignon.jpg. No hay duda de que la técnica de Modi le per- mitié concentrarse por completo en lo que queria extraer de la personalidad de sus sujetos. Pinté constantemente; algunos dicen que completaba una nueva pintura cada seis dias. Sus retratos eran de sus amantes, novias, y colegas como Picasso, Kisling, Cocteau, Soutine, Leén Bakst, Lipchitz,
Figura 25. Modigliani; Chaim Soutine, 1915, Catalogo Ceron no. 97. vivos y grandes placas de color para proporcionar Guillaume, asi como de las personas y los modelos anénimos (Figuras 25, 26 y 27)®”. Las pinturas llamadas “La mujer sentada”, “Hombre con un by sombrero’ “ i ” Ts , “Adrienne”, y “] ilvira”, se llevaron a cabo dentro de un marco coherente de las formas, sombras y capas. Usaba una paleta de colores calidos y ricos que recuerdan a los maestros del Renacimiento italiano, utiliz6 vibrantes fondos vivos y grandes placas de color para proporcionar
Figura 25. Modigliani; Chaim Soutine, 1915, Catalogo Ceron no. 97. vivos y grandes placas de color para proporcionar Guillaume, asi como de las personas y los modelos anénimos (Figuras 25, 26 y 27)®”. Las pinturas llamadas “La mujer sentada”, “Hombre con un by sombrero’ “ i ” Ts , “Adrienne”, y “] ilvira”, se llevaron a cabo dentro de un marco coherente de las formas, sombras y capas. Usaba una paleta de colores calidos y ricos que recuerdan a los maestros del Renacimiento italiano, utiliz6 vibrantes fondos vivos y grandes placas de color para proporcionar
Figura 26. Modigliani, Max Jacob, 1916, Catalogo Ceroni no. 104
Figura 26. Modigliani, Max Jacob, 1916, Catalogo Ceroni no. 104
Figura 27. Modigliani, Leopold Zborowski 1919, Catalogo Ceroni no. 310.
Figura 27. Modigliani, Leopold Zborowski 1919, Catalogo Ceroni no. 310.
Figura 28. Lunia Czechowska 1919, Catalogo Ceroni no. 320. el mundo,” Modigliani dijo a modo de explicacién*, “con el otro miras adentro hacia a ti mismo.” Tal vez el artista nos esta pidiendo que buscar en otra parte de la esencia de sus modelos. Para contem- plar una “realidad detras de sus ojos”*’, debemos examinar sus sujetos en su totalidad; cuellos del- gado como de cisne, una nariz alargada como un eje para la cara ... cuando se inclinan sus cabezas, ésignifica que estan escuchando algo? Qué estan escuchando? éQué nos esta pidiedo Modigliani que escuchemos? gado como de cisne, una nariz alargada como un
Figura 28. Lunia Czechowska 1919, Catalogo Ceroni no. 320. el mundo,” Modigliani dijo a modo de explicacién*, “con el otro miras adentro hacia a ti mismo.” Tal vez el artista nos esta pidiendo que buscar en otra parte de la esencia de sus modelos. Para contem- plar una “realidad detras de sus ojos”*’, debemos examinar sus sujetos en su totalidad; cuellos del- gado como de cisne, una nariz alargada como un eje para la cara ... cuando se inclinan sus cabezas, ésignifica que estan escuchando algo? Qué estan escuchando? éQué nos esta pidiedo Modigliani que escuchemos? gado como de cisne, una nariz alargada como un
Figura 29. Modigliani: Marie 1918, Catalogo Ceroni no. 253. No hay alegria en ninguno de estos retratos de os nifos; cada uno engendra la melancolia, y emite una ternura que invita consuelo. En mi favorita, “Marie”, el pelo negro de la muchacha se encuentra tirado para atras a excepcion de unos pocos mecho- nes que caen sobre la frente (Figura 29)®*. Su color coincide con la oscuridad de su suéter. Una bufanda tejida se envuelve alrededor de su cubierto cuello de cisne. Tonos faciales calidos y una cinta del pelo de color claro contrastan con sus ropas oscuras para hacerla sobresalir en un fondo vertical vibran- te , en capas como vallas. Ella es coqueta, con un rostro ovalado y una nariz respingona. Su cabeza apenas inclinada se gira ligeramente a la derecha para dejar al descubierto un solo pendiente. Ella no sonrie, pero sus labios fruncidos, carmesi, invitan aun examen mas profundo, por lo mucho que se destacan sobre los colores en tonos de piel de color durazno de la cara. Su mandibula se establece con determinacion, y sus mejillas sonrojadas son pro- minentes. Los ojos son asimétricos y sin pupilas. Uno de ellos es de un color gris nebuloso, mientras que el otro esta parcialmente cerrado. Ella parece nostalgica, mas confundida; molesta tal vez, mas indomita, como si nos estuviera retando a adivinar lo que esta pensando. 881918, también conocido como “Marie, hija del pueblo”. Oleo sobre lienzo, 62 x 50 cm. Kunstmuseum de Basilea, Basilea, Suiza. Ceroni catdlogo no. 253.
Figura 29. Modigliani: Marie 1918, Catalogo Ceroni no. 253. No hay alegria en ninguno de estos retratos de os nifos; cada uno engendra la melancolia, y emite una ternura que invita consuelo. En mi favorita, “Marie”, el pelo negro de la muchacha se encuentra tirado para atras a excepcion de unos pocos mecho- nes que caen sobre la frente (Figura 29)®*. Su color coincide con la oscuridad de su suéter. Una bufanda tejida se envuelve alrededor de su cubierto cuello de cisne. Tonos faciales calidos y una cinta del pelo de color claro contrastan con sus ropas oscuras para hacerla sobresalir en un fondo vertical vibran- te , en capas como vallas. Ella es coqueta, con un rostro ovalado y una nariz respingona. Su cabeza apenas inclinada se gira ligeramente a la derecha para dejar al descubierto un solo pendiente. Ella no sonrie, pero sus labios fruncidos, carmesi, invitan aun examen mas profundo, por lo mucho que se destacan sobre los colores en tonos de piel de color durazno de la cara. Su mandibula se establece con determinacion, y sus mejillas sonrojadas son pro- minentes. Los ojos son asimétricos y sin pupilas. Uno de ellos es de un color gris nebuloso, mientras que el otro esta parcialmente cerrado. Ella parece nostalgica, mas confundida; molesta tal vez, mas indomita, como si nos estuviera retando a adivinar lo que esta pensando. 881918, también conocido como “Marie, hija del pueblo”. Oleo sobre lienzo, 62 x 50 cm. Kunstmuseum de Basilea, Basilea, Suiza. Ceroni catdlogo no. 253.
Figura 30. Foto de Jeanne Hebuterne a los 19 afos. De, http:// upload.wikimedia.org/wikipedia/commons/7/78/Jeanne-hebu- terne-2-at-19-years-Amedeo-modiglian.jpg.
Figura 30. Foto de Jeanne Hebuterne a los 19 afos. De, http:// upload.wikimedia.org/wikipedia/commons/7/78/Jeanne-hebu- terne-2-at-19-years-Amedeo-modiglian.jpg.
Figura 31. Foto del catalogo de la exhibicidn que muestra el dibujo de Modigliani de una Jeanne Hebuterne desnuda. En 1918, la vida de Modi parecia cualquier cosa menos maldita. Estaba pintando. Su arte era reconocido. Tenia una relacién amorosa con una mujer mas joven que también era una artista, e iba a ser padre. Paris, sin embargo, estaba siendo amenazada. Los ataques aéreos y proyectiles de canones “Big Bertha” de Alemania aterrorizaban la ciudad. Esa primavera, mas de medio millén de ciudadanos franceses abandonaron la capital
Figura 31. Foto del catalogo de la exhibicidn que muestra el dibujo de Modigliani de una Jeanne Hebuterne desnuda. En 1918, la vida de Modi parecia cualquier cosa menos maldita. Estaba pintando. Su arte era reconocido. Tenia una relacién amorosa con una mujer mas joven que también era una artista, e iba a ser padre. Paris, sin embargo, estaba siendo amenazada. Los ataques aéreos y proyectiles de canones “Big Bertha” de Alemania aterrorizaban la ciudad. Esa primavera, mas de medio millén de ciudadanos franceses abandonaron la capital
Figura 32. Modigliani: Desnudo reclinando las manos detras de la cabeza, 1917, Catalogo Ceroni no. 199.
Figura 32. Modigliani: Desnudo reclinando las manos detras de la cabeza, 1917, Catalogo Ceroni no. 199.
Figura 34. Modigliani: Jeanne Hebuterne con sweater 1918, Catalogo Ceroni no. 220 Figura 33. Foto de Rachel Osterlind con una pintura de ella misma por Modigliani en un estante detras suyo.
Figura 34. Modigliani: Jeanne Hebuterne con sweater 1918, Catalogo Ceroni no. 220 Figura 33. Foto de Rachel Osterlind con una pintura de ella misma por Modigliani en un estante detras suyo.
juego de sus superficies es una de las cosas notables sobre el arte de Modigliani.” A pesar de la dismi- nucién de la salud, Modigliani continu6é pintando y bebiendo. Jeanne Hé Muchos de la veintena de retratos de buterne la muestran en una variedad de poses y con frecuencia, en diversas etapas de su embarazo (1 Figura 34), En algunos de los cuadros, ella esta usando un sombrero. En otros, su pelo esta en trenzas, en un mono, o fluye elegantemente no unido alos hombros. Cada retrato tiene una redon- dez suave y elocuente. Al igual que en la mayoria
juego de sus superficies es una de las cosas notables sobre el arte de Modigliani.” A pesar de la dismi- nucién de la salud, Modigliani continu6é pintando y bebiendo. Jeanne Hé Muchos de la veintena de retratos de buterne la muestran en una variedad de poses y con frecuencia, en diversas etapas de su embarazo (1 Figura 34), En algunos de los cuadros, ella esta usando un sombrero. En otros, su pelo esta en trenzas, en un mono, o fluye elegantemente no unido alos hombros. Cada retrato tiene una redon- dez suave y elocuente. Al igual que en la mayoria
Figura 35. Dibujo de Modigliani supuestamente por Jeanne Hebuterne (1919). De Pierre Sichel: Modigliani, una biografia, pag. 417, EP Dutton, Nueva York, 1967 (Cortesia Vellechi Editori).
Figura 35. Dibujo de Modigliani supuestamente por Jeanne Hebuterne (1919). De Pierre Sichel: Modigliani, una biografia, pag. 417, EP Dutton, Nueva York, 1967 (Cortesia Vellechi Editori).
Figura 36. Jean-Michel Basquiat,1981. Coleccién Aniter Rei- ner. Vendido en Christie’s, Mayo 2014. De http://res.artnet. com/news-upload/201 4/04/Basquiat-Reiner-familly-Collection- untitled-1981-2.jpg.
Figura 36. Jean-Michel Basquiat,1981. Coleccién Aniter Rei- ner. Vendido en Christie’s, Mayo 2014. De http://res.artnet. com/news-upload/201 4/04/Basquiat-Reiner-familly-Collection- untitled-1981-2.jpg.
Figura 37. Modigliani con barba meses antes de su muerte, 1919. De, http://c300221.r21.cf1.rackcdn.com/amedeo-modigliani- ritratto-di-bambina-1917-1354918209_b.jpg. Quizaés Modigliani ya estaba manifestando los primeros sintomas de la meningitis tuberculosa, una infeccidn generalmente croénica de las menin- ges, causada cuando las bacterias de la tuberculosis invaden el liquido que rodea el cerebro y la médula espinal, la creacién de pequenos abscesos llamados microtubérculos™. Estos pueden romperse en el
Figura 37. Modigliani con barba meses antes de su muerte, 1919. De, http://c300221.r21.cf1.rackcdn.com/amedeo-modigliani- ritratto-di-bambina-1917-1354918209_b.jpg. Quizaés Modigliani ya estaba manifestando los primeros sintomas de la meningitis tuberculosa, una infeccidn generalmente croénica de las menin- ges, causada cuando las bacterias de la tuberculosis invaden el liquido que rodea el cerebro y la médula espinal, la creacién de pequenos abscesos llamados microtubérculos™. Estos pueden romperse en el
Figura 38. Hopital de la Charite, Paris, donde Modigliani murid el 24 de enero de 1920. De, http:/Awww.leplaisirdesdieux.fr/LePlaisir- DesDieux/NosAncetresLesInternes/Hopitaux/charite/charite2 jpg. E] 22 de enero, el artista ahora inconsciente fue trasladado a un hospital para pacientes indigentes, no muy lejos de Montparnasse (Figura 38)®®. Alli muri6 el sAbado 24 de enero a las 20:50. Los médi- cos deben haber sabido algo de su historial médico, debido a que la causa de la muerte fue la meningitis tuberculosa®”. Jeanne Hébuterne se arrojé desde la ventana del quinto piso del apartamento de su
Figura 38. Hopital de la Charite, Paris, donde Modigliani murid el 24 de enero de 1920. De, http:/Awww.leplaisirdesdieux.fr/LePlaisir- DesDieux/NosAncetresLesInternes/Hopitaux/charite/charite2 jpg. E] 22 de enero, el artista ahora inconsciente fue trasladado a un hospital para pacientes indigentes, no muy lejos de Montparnasse (Figura 38)®®. Alli muri6 el sAbado 24 de enero a las 20:50. Los médi- cos deben haber sabido algo de su historial médico, debido a que la causa de la muerte fue la meningitis tuberculosa®”. Jeanne Hébuterne se arrojé desde la ventana del quinto piso del apartamento de su
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