Amedeo Modigliani

Authors:

Klaus H. Carl, Jane Rogoyska, Frances Alexander, and D.H. Lawrence

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ISBN: 978-1-78310-252-5

Klaus H. Carl, Jane Rogoyska,

Frances Alexander, and D.H. Lawrence

Amedeo

Modigliani

Contents

His Life

His Work

Extracts

Biography

List of Illustrations

Madam Pompadour, 1915. Oil on canvas, 61.1 x 50.2 cm. Joseph Winterbotham Collection, Art Institute of Chicago, Chicago.

His Life

Amedeo Modigliani was born in Italy in 1884 and died in Paris at the age of thirty-five. He was Jewish with a French mother and Italian father and so grew up with three cultures.

A passionate and charming man who had numerous lovers, his unique vision was nurtured by his appreciation of his Italian and classical artistic heritage, his understanding of French style and sensibility, in particular the rich artistic atmosphere of Paris at the turn of the 20th century, and his intellectual awareness inspired by Jewish tradition.

Unlike other avant-garde artists, Modigliani painted mainly portraits – typically unrealistically elongated with a melancholic air – and nudes, which exhibit a graceful beauty and strange eroticism.

In 1906, Modigliani moved to Paris, the centre of artistic innovation and the international art market. He frequented the cafés and galleries of Montmartre and Montparnasse, where many different groups of artists congregated.

He soon became friends with the Post-Impressionist painter (and alcoholic) Maurice Utrillo (1883-1955) and the German painter Ludwig Meidner (1844-1966), who described Modigliani as the last, true bohemian (Doris Krystof, Modigliani).

Modigliani’s mother sent him what money she could afford, but he was desperately poor and had to change lodgings frequently, sometimes abandoning his work when he had to run away without paying the rent.

Fernande Olivier, the first girlfriend that Pablo Picasso (1881-1973) had in Paris, describes one of Modigliani’s rooms in her book Picasso and His Friends (1933):

A stand on four feet in one corner of the room. A small and rusty stove on top of which was a yellow terracotta bowl that was used for washing in; close by lay a towel and a piece of soap on a white wooden table. In another corner, a small and dingy box-chest painted black was used as an uncomfortable sofa.

A straw-seated chair, easels, canvasses of all sizes, tubes of colour spilt on the floor, brushes, containers for turpentine, a bowl for nitric acid (used for etchings), and no curtains.

Head of a Woman with a Hat, 1907. Watercolour, 35 x 27 cm. William Young and Company, Boston.

Portrait of Paul Alexandre, 1913. Oil on canvas, 80 x 45 cm. Private collection.

Modigliani was a well-known figure at the Bateau-Lavoir, the celebrated building where many artists, including Picasso, had their studios. It was probably given its name by the bohemian writer and friend of both Modigliani and Picasso, Max Jacob (1876-1944).

While at the Bateau-Lavoir, Picasso painted Les Demoiselles d’Avignon (1907), the radical depiction of a group of prostitutes that heralded the start of Cubism.

Other Bateau-Lavoir painters, such as Georges Braque (1882-1963), Jean Metzinger (1883-1956), Marie Laurencin (1885-1956), Louis Marcoussis (1878-1941), and the sculptors Juan Gris (1887-1927), Jacques Lipchitz (1891-1973) and Henri Laurens (1885-1954) were also at the forefront of Cubism.

The vivid colours and free style of Fauvism had just become popular and Modigliani knew the Bateau-Lavoir Fauves, including André Derain (1880-1954) and Maurice de Vlaminck (1876-1958), as well as the Expressionist sculptor Manolo (Manuel Martinez Hugué, 1872-1945), and Chaim Soutine (1893-1943), Moïse Kisling (1891-1953), and Marc Chagall (1887-1985). Modigliani painted portraits of many of these artists.

Max Jacob and other writers were drawn to this community which already included the poet and art critic (and lover of Marie Laurencin) Guillaume Apollinaire (1880-1918), the Surrealist Alfred Jarry (1873-1907), the writer, philosopher, and photographer Jean Cocteau (1889-1963), with whom Modigliani had a mixed relationship, and André Salmon (1881-1969), who went on to write a dramatised novel based on Modigliani’s unconventional life.

The American writer and art collector Gertrude Stein (1874-1946) and her brother Leo were also regular visitors.

Modigliani was known as ‘Modi’ to his friends, no doubt a pun on peintre maudit (accursed painter).

He himself believed that the artist had different needs and desires, and should be judged differently from other, ordinary people – a theory he came upon by reading such authors as Friedrich Nietzsche (1844-1900), Charles Baudelaire (1821-1867), and Gabriele D’Annunzio (1863-1938).

Modigliani had countless lovers, drank copiously, and took drugs. From time to time, however, he also returned to Italy to visit his family and to rest and recuperate.

In childhood, Modigliani had suffered from pleurisy and typhoid, leaving him with damaged lungs. His precarious state of health was exacerbated by his lack of money and unsettled, self-indulgent lifestyle.

He died of tuberculosis; his young fiancée, Jeanne Hébuterne, pregnant with their second child, was unable to bear life without him and killed herself the following morning.

Woman with Red Hair, 1917. Oil on canvas, 92.1 x 60.7 cm. Chester Dale Collection, National Gallery of Art, Washington, D.C.

Chaim Soutine, 1917. Oil on canvas, 91.7 x 59.7 cm. Chester Dale Collection, National Gallery