Rétrospective Modigliani à la Tate Modern - Les derniers jours
Amedeo Modigliani - Marie (Marie, fille du peuple) 1918
Oil paint on canvas - 612 x 498 mm
Kunstmuseum Basel, Bequest Dr. Walther Hanhart, Riehen, 1975
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Derniers jours pour la rétrospective Amedeo Modigliani à la Tate Modern (Londres). Elle fermera ses portes le 02 avril 2018.
Des nus et des portraits, bien sûr, mais aussi des sculptures et un paysage...
Amedeo Modigliani - Beatrice Hastings 1915
Oil on paper - 400 x 285 mm - Private Collection
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This autumn, Tate Modern stages the most comprehensive Modigliani
exhibition ever held in the UK, bringing together a dazzling range of
his iconic portraits, sculptures and the largest ever group of nudes to
be shown in this country. Although he died tragically young, Amedeo
Modigliani (1884–1920) was a ground-breaking artist who pushed the
boundaries of the art of his time. Including 100 works – many of them
rarely exhibited and nearly 40 of which have never before been shown in
the UK – the exhibition re-evaluates this familiar figure, looking
afresh at the experimentation that shaped his career and made Modigliani
one of the greatest artists of the twentieth century.
Amedeo Modigliani - Head - c.1911
Medium Stone - 394 x 311 x 187 mm
Harvard Art Museums/Fogg Museum, Gift of Lois Orswell
© President and Fellows of Harvard College
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A section devoted to Modigliani’s nudes, perhaps the best-known and most
provocative of the artist’s works, are a major highlight. In these
striking canvases Modigliani invented shocking new compositions that
modernised figurative painting. His explicit depictions also proved
controversial and led to the police censoring his only solo exhibition
in his lifetime, at Berthe Weill’s gallery in 1917, on grounds of
indecency. This group of 12 nudes is the largest group ever seen in the
UK, with paintings including Nude 1917 (Staatsgalerie, Stuttgart) and Reclining Nude c.1919 (Museum of Modern Art, New York).
Amedeo Modigliani - Woman's Head (With Chignon) - 1911
Sandstone - 572 x 219 x 235 mm
Merzbacher Kunststiftung
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Born in Livorno, Italy and working in Paris from
1906, Modigliani’s career was one of continual evolution. The exhibition
begins with the artist’s arrival in Paris, exploring the creative
environments and elements of popular culture that were central to his
life and work. Inspired by the art of Paul Cézanne, Henri
Toulouse-Lautrec and Pablo Picasso, Modigliani began to experiment and
develop his own distinctive visual language, seen in early canvases such
as Bust of a Young Woman 1908 (Lille Métropole Musée d'Art Moderne, Villeneuve-d'Ascq) and The Beggar of Livorno 1909
(Private Collection). His circle included poets, dealers, writers and
musicians, many of whom posed for his portraits including Diego Rivera 1914 (Kunstsammlung Nordrhein-Westfalen, Düsseldorf), Juan Gris 1915 (Metropolitan Museum of Art, New York) and Jean Cocteau 1916 (The Henry and Rose Pearlman Foundation, Princeton University Art Museum). The
exhibition will also reconsider the role of women in Modigliani’s work,
including editor and writer Beatrice Hastings, who was not simply the
artist’s lover but an important figure in the cultural landscape of the
time.
Amedeo Modigliani - Cagnes Landscape - 1919
Oil paint on canvas - 460 x 290 mm
Private Collection
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Modigliani features exceptional examples of the artist’s lesser-known sculpture, bringing together a substantial group of his Heads made
before the First World War. Although his interests would soon move on,
he spent a short but intense period focusing on carving, influenced by
contemporaries and friends including Constantin Brâncuși
and Jacob Epstein. Suffering from poor health, Modigliani left Paris in
1918 for an extended period in the South of France. Here he adopted a
more Mediterranean colour palette and, instead of his usual metropolitan
sitters, he began painting local people, including shopkeepers and
children, such as Young Woman of the People 1918 (Los Angeles County Museum of Art) and Boy with a Blue Jacket 1919 (Indianapolis Museum of Art).
Amedeo Modigliani - Boy in Short Pants - c.1918
Oil paint on canvas - 997 x 648 mm
Dallas Museum of Art, gift of the Leland Fikes Foundation, Inc. 1977
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The exhibition concludes with some of Modigliani’s
best-known depictions of his closest circle. Friends and lovers provided
him with much-needed financial and emotional support during his
turbulent last years while also serving as models. These included his
dealer and close friend Léopold Zborowski and his companion Hanka, as
well as Jeanne Hébuterne, the mother of Modigliani’s child and one of
the most important women in his life. When Modigliani died in 1920 from
tubercular meningitis, Jeanne tragically committed suicide. Tate Modern
brings together several searching portraits of her from Modgliani’s
final years, on loan from international collections such as the
Philadelphia Museum of Art and Metropolitan Museum of Art, New York,
which depict her in a range of guises from young girl to mother.
Amedeo Modigliani - Self-Portrait as Pierrot - 1915
Oil paint on cardboard - 430 x 270 mm
Statens Museum for Kunst, Copenhagen
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Amedeo Modigliani - Portrait of a Young Woman - 1918
Oil paint on canvas. 457 x 280 mm
Yale University Art Gallery
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Amedeo Modigliani - Jacques and Berthe Lipchitz - 1916
Oil on canvas. 813 x 543 mm
The Art Institute of Chicago
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Amedeo Modigliani - Jeanne Hébuterne - 1919
Oil paint on canvas. 914 x 730 mm
The Metropolitan Museum of Art, New York
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Amedeo Modigliani - Juan Gris - 1915
Oil paint on canvas. 549 x 381 mm
The Metropolitan Museum of Art, New York
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Amedeo Modigliani - Reclining Nude - 1919
Oil on canvas. 724 x 1165 mm
Museum of Modern Art, New York
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Amedeo Modigliani - Seated Nude - 1917
Oil paint on canvas. 1140 x 740 mm
Royal Museum of Fine Arts Antwerp, Lukasart in Flanders
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Amedeo Modigliani - The Little Peasant - c.1918
Oil paint on canvas - 1000 x 645 mm
Tate, presented by Miss Jenny Blaker in memory of Hugh Blaker 1941
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Amedeo Modigliani, Léopold Zborowski, Anders Osterlind and Nanic Osterlind,
Haut-de-Cagnes 1919.
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Modigliani in his studio, photograph by Paul Guillaume, c.1915
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Commissaires de l'exposition : Nancy Ireson et Simonetta Fraquelli assistée de Emma Lewis
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