4/14/2021, 4:24:7
Amedeo Modigliani - Caryatid (1 of 1)
Marlborough Antiques & Interiors
Marlborough Antiques & Interiors is located in Marlborough, United Kingdom

Amedeo Modigliani - Caryatid

REF: LA75524
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Amedeo Modigliani unframed Print After Original Drawing by Amedeo Modigliani This high-quality reproduction of an original drawing of Amedeo Modigliani entitled Caryatid is from the Portfolio of Forty Five Drawings by Modigliani bearing No. CXCVII (221) out of 250 copies, numbered I through CCL printed in 1959 for Grove Press Inc The original Tempera drawing on which this plate is based was at the time of the publication of the limited edition portfolio in the collection of the Frederico Batzarotti family A copy of the justification page from the portfolio will be provided to a buyer of the print. The drawings for inclusion in the portfolio were selected by the distinguished Italian art historian, critic and curator, Lamberto Vitali. The plates were made by Arti Grafiche Pezzini, Milan. Copyright 1959 by Guilio Einardi Editore and Grove Press inc, NY. A copy of the justification page from the portfolio will be provided to a buyer of the print. Signed in the plate by Amedeo Modigliani Amedeo Clemente Modigliani (1884-1920) An Overview of Amedeo Modigliani’s Artistic Creations Modigliani’s artistic influences and antecedents have been the subject of much speculation and conjecture. The artist himself provides very little, if any, direct information on this vexed question. In his early Paris paintings, there are indications of influences of Toulouse Lautrec and Cezanne. Cezanne’s style is seen in Modigliani’s three extant landscape paintings. Some commentators have argued that there is evidence of the influence of art from Africa, especially a possible interest in African masks and Cambodian art, whilst others have advanced the view that in both Modigliani’s painting and sculpture, the sitter’s faces resemble ancient Egyptian painting in their flat and mask-like appearance, with distinctive almond eyes, pursed mouths, twisted noses and elongated necks. Others have contended that Modigliani’s stylisations are just as likely to have been the result of his exposure to medieval sculpture and painting during his studies in Northern Italy. However, it could be argued that the work of Brancusi was the single most important influence on Modigliani’s artistic development. In the final analysis, unlike other artists of his age, what is incontrovertible is that Modigliani still defies classification. A key participant in the Ecole de Paris, Modigliani modernized two of the enduring themes of art history: the portrait and the nude. Modigliani’s Contribution to Portrait Art Characterized by a sense of melancholia, elongated proportions, and mask-like faces, Modigliani’s portraits achieve a unique combination of specificity and generalization. Each reveals the sitter’s inner life, the subject’s personality, while his trademark stylisation and use of recurring motifs – long necks and almond-shaped eyes – render them uniform. Modigliani’s portraits are unmistakably recognizable as works of its creator. In the words of one critic, his portraits are unmistakably ‘Modiglianized’. Modigliani’s Contribution to Depiction of the Nude in Art Modigliani completely changed the tradition of the nude; he turned it upside down. His creations in this genre are candid in their sensuality; they are distinctly devoid of the modesty and mythological subtexts evident in many earlier depictions of nude figures. Modigliani’s nudes shocked the public with their depiction of features such as pubic hair and their honest, undiluted sexuality. Modigliani’s works were not commercially successful during his lifetime but they became popular after his death. He was forced to endure poverty right up to his final hours. He was known to exchange works of art for meals at restaurants and to acquire the necessities of daily life. He is now among the most celebrated artists of the twentieth century. It is indeed a cruel irony of fate that whilst Modigliani failed to create any significant interest in his work during his own life, thereby exposing him to severe financial hardship, his works now fetch stratospheric prices. Today his richly coloured portraits and nudes are widely admired and celebrated by collectors and art lovers. His importance is now firmly established due to his primitivist but evocative expressionist style of painting, which has influenced a wide variety of artists in numerous movements. He is not closely associated with any one particular early-twentieth century artistic genre or ‘ism’. Working in the prolific period of ‘isms’, Modigliani was unclassifiable and he stubbornly insisted on his differences. He was an artist putting down paint on canvas to create works ‘not to shock and outrage’ but to say, ‘this is what I see.’ Modigliani arrived at a signature style, a unique style of his own that reflects the fusion of aspects of contemporary European artistic developments such as Cubism with non-Western art forms like African masks. Although Modigliani is best known as a painter, he focused on sculpture early in his career and, as some commentators have suggested, may have regarded his true calling as that of sculpture. Modigliani’s sculptures helped him to develop his very own abstracted and linear idiom of his painting. His portraits and nudes overturned traditional conventions of both genres by uniquely blending formal experimentation with probing candour and psychological insight. His innovative artistic creations earned Modigliani the admiration of his contemporaries. Shunning categorisation into any school of art or adherence to any artistic movement or credo and treading a highly individualistic and iconoclastic path, Modigliani developed a sophisticated and mannered style, built upon graceful, decorative arabesques and simplified form. Important Note for Modigliani Aficionados In his short artistic career that spanned a mere 14 years or so, Modigliani did not engage in printmaking. There are no original Modigliani prints or prints made after original works by Modigliani signed by him. There is only one portfolio of offset lithographs after original Modigliani drawings. In 1959, 250 offset lithographs after 45 drawings by Modigliani with English texts numbered 1 through CCL were published for Grove Press, Inc., New York. This portfolio is rarely found today. Marlborough Antiques is delighted to have in its stock plates taken from a copy of the limited edition of 250 printed for the Grove Press, Inc., New York bearing no. CXCVII. We expect a strong demand for these reasonably priced ultra-rare prints after the major Modigliani retrospective to be held by Tate Modern from 23rd November 2017 till 2nd April 2018.


47 CM
30 CM
1 CM


Marlborough Antiques & Interiors has clarified that the Amedeo Modigliani - Caryatid (LA75524) is genuinely of the period declared with the date/period of manufacture being 1959



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