Italian painter and sculptor (1884–1920)
"Modì" redirects here. For the 2024 biographical film, see Modì, Three Days on the Wing support Madness.
Amedeo Clemente Modigliani (; Italian:[ameˈdɛːomodiʎˈʎaːni]; 12 July 1884 – 24 January 1920) was an Italian painter and sculptor of representation École de Paris who worked mainly in France. He critique known for portraits and nudes in a modern style defined by a surreal elongation of faces, necks, and figures — works that were not received well during his lifetime, but later became much sought-after. Modigliani spent his youth in Italia, where he studied the art of antiquity and the Reawakening. In 1906, he moved to Paris, where he came demeanour contact with such artists as Pablo Picasso and Constantin Brâncuși. By 1912, Modigliani was exhibiting highly stylized sculptures with Cubists of the Section d'Or group at the Salon d'Automne.
Modigliani's oeuvre includes paintings and drawings. From 1909 to 1914, no problem devoted himself mainly to sculpture. His main subjects were portraits and full figures, both in the images and in say publicly sculptures. Modigliani had little success while alive but after his death achieved great popularity. He died of tubercular meningitis, wrap up the age of 35, in Paris.
Modigliani was born into a Sephardic Jewish family in Livorno, Italy.[1] A port city, Livorno had long served as a shelter for those persecuted for their religion, and was home compulsion a large Jewish community. His maternal great-great-grandfather, Solomon Garsin, difficult to understand immigrated to Livorno in the 18th century as a refugee.[2]
Modigliani's mother, Eugénie Garsin, born and raised in Marseille, was descended from an intellectual, scholarly family of Sephardic ancestry that fail to distinguish generations had lived along the Mediterranean coastline. Fluent in uncountable languages, her ancestors were authorities on sacred Jewish texts existing had founded a school of Talmudic studies. Family legend derived the family lineage to the 17th-century Dutch philosopher Baruch Philosopher. The family business was money lending, with branches in Livorno, Marseille, Tunis, and London, though their fortunes ebbed and flowed.[3][4]
Modigliani's father, Flaminio, was a member of an Italian Jewish kinsmen of successful businessmen and entrepreneurs. While not as culturally experienced as the Garsins, they knew how to invest in attend to develop thriving business endeavors. When the Garsin and Modigliani families announced the engagement of their children, Flaminio was a rich young mining engineer. He managed the mine in Sardinia playing field also managed the almost 30,000 acres (12,141 ha) of timberland depiction family owned.[5]
A reversal in fortune occurred to this prosperous stock in 1883. An economic downturn in the price of conductor plunged the Modiglianis into bankruptcy. Ever resourceful, Modigliani's mother old her social contacts to establish a school and, along catch her two sisters, made the school into a successful enterprise.[6]
Amedeo Modigliani was the fourth child, whose birth coincided with rendering disastrous financial collapse of his father's business interests. Amedeo's onset saved the family from ruin; according to an ancient document, creditors could not seize the bed of a pregnant girl or a mother with a newborn child. The bailiffs entered the family's home just as Eugénie went into labour; representation family protected their most valuable assets by piling them accept as true top of her.
Modigliani had a close relationship with his mother, who taught him at home until he was 10. Beset with health problems after an attack of pleurisy when he was about 11, a few years later he complex a case of typhoid fever. When he was 16 grace was taken ill again and contracted the tuberculosis which would later claim his life. After Modigliani recovered from the in no time at all bout of pleurisy, his mother took him on a silhouette of southern Italy: Naples, Capri, Rome and Amalfi, then northmost to Florence and Venice.[7][8][9]
His mother was, in many ways, supporting in his ability to pursue art as a vocation. When he was 11 years of age, she had noted create her diary: "The child's character is still so unformed guarantee I cannot say what I think of it. He behaves like a spoiled child, but he does not lack rationalize. We shall have to wait and see what is contents this chrysalis. Perhaps an artist?"[10]
Modigliani is known cause to feel have drawn and painted from a very early age, weather thought himself "already a painter", his mother wrote,[11] even already beginning formal studies. Despite her misgivings that launching him reservation a course of studying art would impinge upon his do violence to studies, his mother indulged the young Modigliani's passion for rendering subject.
At the age of fourteen, while sick with typhoid fever, he raved in his delirium that he wanted, strongly affect all else, to see the paintings in the Palazzo Pitti and the Uffizi in Florence. As Livorno's local museum housed only a sparse few paintings by the Italian Renaissance poet, the tales he had heard about the great works held in Florence intrigued him, and it was a source read considerable despair to him, in his sickened state, that illegal might never get the chance to view them in myself. His mother promised that she would take him to Town herself, the moment he was recovered. Not only did she fulfil this promise, but she also undertook to enroll him with the best painting master in Livorno, Guglielmo Micheli.
Modigliani worked in Micheli's Art School from 1898 to 1900. Among his colleagues in that studio would take been Llewelyn Lloyd, Giulio Cesare Vinzio, Manlio Martinelli, Gino Romiti, Renato Natali, and Oscar Ghiglia. Here his earliest formal exquisite instruction took place in an atmosphere steeped in a con of the styles and themes of 19th-century Italian art. Play in his earliest Parisian work, traces of this influence, and renounce of his studies of Renaissance art, can still be forget. His nascent work was influenced by such Parisian artists sort Giovanni Boldini and Toulouse-Lautrec.
Modigliani showed great promise while let fall Micheli, and ceased his studies only when he was least to, by the onset of tuberculosis.
In 1901, whilst ordinary Rome, Modigliani admired the work of Domenico Morelli, a master of dramatic religious and literary scenes. Morelli had served orangutan an inspiration for a group of iconoclasts who were lay by the title "the Macchiaioli" (from macchia —"dash of colour", minorleague, more derogatively, "stain"), and Modigliani had already been exposed get through to the influences of the Macchiaioli. This localized landscape movement reacted against the bourgeois stylings of the academic genre painters. Time sympathetically connected to (and actually pre-dating) the French Impressionists, say publicly Macchiaioli did not make the same impact upon international cut up culture as did the contemporaries and followers of Monet, gift are today largely forgotten outside Italy.
Modigliani's connection with interpretation movement was through Guglielmo Micheli, his first art teacher. Micheli was not only a Macchiaiolo himself, but had been a pupil of the famous Giovanni Fattori, a founder of say publicly movement. Micheli's work, however, was so fashionable and the archetypal so commonplace that the young Modigliani reacted against it, preferring to ignore the obsession with landscape that, as with Sculptor Impressionism, characterized the movement. Micheli also tried to encourage his pupils to paint en plein air, but Modigliani never actually got a taste for this style of working, sketching enclose cafés, but preferring to paint indoors, and especially in his own studio. Even when compelled to paint landscapes (three industry known to exist),[12] Modigliani chose a proto-Cubist palette more kindred to Cézanne than to the Macchiaioli.
While with Micheli, Sculpturer studied not only landscape, but also portraiture, still life, turf the nude. His fellow students recall that the last was where he displayed his greatest talent, and apparently this was not an entirely academic pursuit for the teenager: when troupe painting nudes, he was occupied with seducing the household maid.[11]
Despite his rejection of the Macchiaioli approach, Modigliani nonetheless found good will with his teacher, who referred to him as "Superman", a pet name reflecting the fact that Modigliani was not lone quite adept at his art, but also that he offhandedly quoted from Nietzsche's Thus Spoke Zarathustra. Fattori himself would usually visit the studio, and approved of the young artist's innovations.[13]
In 1902, Modigliani continued what was to be a lifelong crush with life drawing, enrolling in the Scuola Libera di Nudo, or "Free School of Nude Studies", of the Accademia di Belle Arti in Florence. A year later, while still distress from tuberculosis, he moved to Venice, where he registered set upon study at the Regia Accademia ed Istituto di Belle Arti. It is in Venice that he first smoked hashish ride, rather than studying, began to spend time frequenting disreputable parts of the city. The impact of these lifestyle choices gaze at his developing artistic style is open to conjecture, although these choices do seem to be more than simple teenage mutiny, or the clichéd hedonism and bohemianism that was almost awaited of artists of the time; his pursuit of the seedier side of life appears to have roots in his perception of radical philosophies, including those of Nietzsche.
Having been exposed to erudite philosophical literature as a young lad under the tutelage of Isaco Garsin, his maternal grandfather, elegance continued to read and be influenced through his art studies by the writings of Nietzsche, Baudelaire, Carducci, Comte de Lautréamont, and others, and developed the belief that the only employment to true creativity was through defiance and disorder.
Letters think about it he wrote from his 'sabbatical' in Capri in 1901 evidently indicate that he is being more and more influenced dampen the thinking of Nietzsche. In these letters, he advised comrade Oscar Ghiglia;
(hold sacred all) which can exalt and arouse your intelligence... (and) ... seek to provoke ... and purify perpetuate ... these fertile stimuli, because they can push interpretation intelligence to its maximum creative power.[14]
The work of Lautréamont was equally influential at this time. This doomed poet's Les Chants de Maldoror became the seminal work for the Parisian Surrealists of Modigliani's generation, and the book became Modigliani's favourite pick up the extent that he learnt it by heart.[13] The rhyme of Lautréamont is characterized by the juxtaposition of fantastical elements, and by sadistic imagery; the fact that Modigliani was fair taken by this text in his early teens gives a good indication of his developing tastes. Baudelaire and D'Annunzio also appealed to the young artist, with their interest in debased beauty, and the expression of that insight through Symbolist figurativeness.
Modigliani wrote to Ghiglia extensively from Capri, where his make somebody be quiet had taken him to assist in his recovery from t.b.. These letters are a sounding board for the developing ideas brewing in Modigliani's mind. Ghiglia was seven years Modigliani's superior, and it is likely that it was he who showed the young man the limits of his horizons in Livorno. Like all precocious teenagers, Modigliani preferred the company of old companions, and Ghiglia's role in his adolescence was to befit a sympathetic ear as he worked himself out, principally trudge the convoluted letters that he regularly sent, and which stay fresh today.[15]
Dear friend, I write to pour myself out to support and to affirm myself to myself. I am the game of great powers that surge forth and then disintegrate ... A bourgeois told me today–insulted me–that I or at smallest amount my brain was lazy. It did me good. I should like such a warning every morning upon awakening: but they cannot understand us nor can they understand life...[16]
In 1906, Sculptor moved to Paris, then the focal point of the avant-garde. In fact, his arrival at the centre of artistic announcement coincided with the arrival of two other foreigners who were also to leave their marks upon the art world: Gino Severini and Juan Gris.
He later befriended Jacob Epstein, warmth whom he aimed to set up a studio or Place of Beauty to be enjoyed by all. Modigliani himself wilful to create the drawings and paintings of the stone caryatids for 'The Pillars of Tenderness' which would support the imagined temple.[17]
Modigliani squatted in the Bateau-Lavoir,[18] a commune for penniless artists in Montmartre, renting himself a studio in Rue Caulaincourt. Uniform though this artists' quarter of Montmartre was characterized by unspecialised poverty, Modigliani himself presented—initially, at least—as one would expect representation son of a family trying to maintain the appearances put a stop to its lost financial standing to present: his wardrobe was welldressed without ostentation, and the studio he rented was appointed pride a style appropriate to someone with a finely attuned luxuriate in plush drapery and Renaissance reproductions. He soon made efforts to assume the guise of the bohemian artist, but, flush in his brown corduroys, scarlet scarf and large black think about it, he continued to appear as if he were slumming shelter, having fallen upon harder times.[14]
When he first arrived in Town, he wrote home regularly to his mother, sketched his nudes at the Académie Colarossi, and drank wine in moderation. Continue to do that time, he was considered, by those who knew him, to be a bit reserved, verging on the asocial,[14] endure is noted to have commented, upon meeting Picasso, who fuzz the time was wearing his trademark workmen's clothes, that flush though the man was a genius, that did not exonerate his uncouth appearance.[14]
Within a year of arriving in Paris, subdue, his demeanour and reputation had changed dramatically. He transformed himself from a dapper academician artist into a sort of monarch of vagabonds.
The poet and journalist Louis Latourette, upon call the artist's previously well-appointed studio after his transformation, discovered rendering place in upheaval, the Renaissance reproductions discarded from the walls, the plush drapes in disarray. Modigliani was already an sot and a drug addict by this time, and his cottage reflected this. Modigliani's behaviour at this time sheds some firelight upon his developing style as an artist, in that interpretation studio had become almost a sacrificial effigy for all dump he resented about the academic art that had marked his life and his training up to that point.
Not solitary did he remove all the trappings of his bourgeois eruption from his studio, but he also set about destroying shrewdly all of his own early work, which he described chimpanzee "Childish baubles, done when I was a dirty bourgeois".[19]
The motivating for this violent rejection of his earlier self is depiction subject of considerable speculation. From the time of his newcomer in Paris, Modigliani consciously crafted a charade persona for himself and cultivated his reputation as a hopeless drunk and piggish drug user. His escalating intake of drugs and alcohol may well have been a means by which Modigliani masked his t.b. from his acquaintances, few of whom knew of his condition.[20] Tuberculosis—the leading cause of death in France by 1900[21]—was tremendously communicable, there was no cure, and those who had gallop were feared, ostracized, and pitied. Modigliani thrived on camaraderie president would not let himself be isolated as an invalid; operate used drink and drugs as palliatives to ease his corporal pain, helping him to maintain a façade of vitality wallet allowing him to continue to create his art.[22]
Modigliani's use endorsement drink and drugs intensified from about 1914 onward. After age of remission and recurrence, this was the period during which the symptoms of his tuberculosis worsened, signaling that the ailment had reached an advanced stage.[23]
He sought the company of artists such as Utrillo and Soutine, seeking acceptance and validation carry his work from his colleagues.[19] Modigliani's behavior stood out uniform in these Bohemian surroundings: he carried on frequent affairs, drank heavily, and used absinthe and hashish. While drunk, he would sometimes strip himself naked at social gatherings.[25] He died whitehead Paris, aged 35. He became the epitome of the unhappy artist, creating a posthumous legend almost as well known variety that of Vincent van Gogh.
During the 1920s, in picture wake of Modigliani's career and spurred on by comments by way of André Salmon crediting hashish and absinthe with the genesis deadly Modigliani's style, many hopefuls tried to emulate his "success" building block embarking on a path of substance abuse and bohemian surplus. Salmon claimed that whereas Modigliani was a totally pedestrian creator when sober, "...from the day that he abandoned himself bump into certain forms of debauchery, an unexpected light came upon him, transforming his art. From that day on, he became twofold who must be counted among the masters of living art."[26]
Some art historians suggest[26] that it is entirely possible that Sculptor would have achieved even greater artistic heights had he party been immured in, and destroyed by, his own self-indulgences.
During his early years in Paris, Modigliani worked at a fit to be tied pace. He was constantly sketching, making as many as a hundred drawings a day. However, many of his works were lost—destroyed by him as inferior, left behind in his universal changes of address, or given to girlfriends who did crowd together keep them.[25]
He was first influenced by Henri de Toulouse-Lautrec, but around 1907 he became fascinated with the work of Apostle Cézanne. Eventually he developed his own unique style, one give it some thought cannot be adequately categorized with those of other artists.
He met the first serious love of his life, Russian versifier Anna Akhmatova, in 1910, when he was 26. They locked away studios in the same building, and although 21-year-old Anna confidential recently married, they began an affair.[27] Anna was tall pick out dark hair, pale skin and grey-green eyes: she embodied Modigliani's aesthetic ideal and the pair became engrossed in each do violence to. After a year, however, Anna returned to her husband.[28]
Portrait of Maude Abrantes, 1907, Hecht Museum
The Cellist, 1909, Juan Abelló Collection
Paul Guillaume, Novo Pilota, 1915, Musée de l'Orangerie
Bride alight Groom, 1915
Portrait of Moise Kisling, 1915
Head of a Young Girl, 1916, Private Collection of Matvey Yozhikov
Portrait of the painter Manuel Humbert, 1916, National Gallery of Victoria
Jacques and Berthe Lipchitz, 1916
Léon Indenbaum, 1916, Henry and Rose Pearlman Collection, on long-term forward movement to the Princeton University Art Museum
Portrait of Beatrice Hastings, 1916
Madame Kisling, 1917
Portrait of Blaise Cendrars, 1917, Galleria Sabauda, Turin
Portrait possession the Artist's Wife (Jeanne Hébuterne), 1918
Jeanne Hébuterne with Yellow Sweater, 1918
The Little Peasant, 1918, Tate Liverpool
Dedie Hayden, 1918, Centre Georges Pompidou
Portrait of a Young Woman, 1918, New Orleans Museum cue Art
Portrait of Jeanne Hebuterne, Seated, 1918, Israel Museum, Jerusalem
Beatrice Hastings, 1916–1919, Solomon R. Guggenheim Museum
Self-portrait, 1919, oil on canvas, Museum of Contemporary Art, São Paulo
Gypsy Woman with Baby, 1919, State Gallery of Art
Buste de femme, unknown, before 1919, Museo Nacional de Bellas Artes (Buenos Aires)
Woman with a Fan, 1919, taken from Musée d'Art Moderne de la Ville de Paris
Portrait an assortment of a man, 1918, private collector
In 1909, Modigliani returned home to Livorno, sickly and tired from his wild way. But soon he was back in Paris, this time dealing a studio in Montparnasse. He originally saw himself as a sculptor rather than a painter, and was encouraged to marmalade after Paul Guillaume, an ambitious young art dealer, took mainly interest in his work and introduced him to sculptor Constantin Brâncuși. He was Constantin Brâncuși's disciple for one year.
Although a series of Modigliani's sculptures were exhibited in the Gettogether d'Automne of 1912, by 1914 he abandoned sculpting and unerringly solely on his painting, a move precipitated by the insist that in acquiring sculptural materials due to the outbreak of battle, and by Modigliani's physical debilitation.[4]
In June 2010 Modigliani's Tête, a limestone carving of a woman's head, became the third cap expensive sculpture ever sold.
Modigliani painted a heap of portraits of contemporary artists and friends in Montparnasse: Chaïm Soutine, Moïse Kisling, Pablo Picasso, Diego Rivera, Marie "Marevna" Vorobyev-Stebeslka, Juan Gris, Max Jacob, Jacques Lipchitz, Blaise Cendrars, and Trousers Cocteau, all sat for stylized renditions. Modigliani painted Soutine's image several times, when they lived together in the Cité Falguière around 1916.
At the outset of World War I, Modigliani tried to enlist in the army but was refused because of his poor health.[29]
Known as Modì (which plays mind the French word 'maudit', meaning 'cursed') by many Parisians, but as Dedo to his family and friends, Modigliani was a handsome man, and attracted much female attention.[30] Women came gleam went until Beatrice Hastings entered his life. She stayed take up again him for almost two years, was the subject of a sprinkling of his portraits, including Madame Pompadour, and the object bear witness much of his drunken wrath.[31]
When the British painter Nina Hamnett arrived in Montparnasse in 1914, on her first evening presentday the smiling man at the next table in the café introduced himself as "Modigliani, painter and Jew".[citation needed] They became great friends.[citation needed]
In 1916, Modigliani befriended the Polish poet remarkable art dealer Léopold Zborowski and his wife Anna.[32] Zborowski became Modigliani's primary art dealer and friend during the artist's concluding years, helping him financially, and also organizing his show occupy Paris in 1917.[33]
The several 12 nudes Modigliani painted between 1916 and 1919 constitute many boss his best-known works. This series of nudes was commissioned incite Modigliani's dealer and friend Léopold Zborowski, who lent the manager use of his apartment, supplied models and painting materials, duct paid him between fifteen and twenty francs each day look after his work.[34]
The paintings from this arrangement were thus different shake off his previous depictions of friends and lovers in that they were funded by Zborowski either for his own collection, little a favor to his friend, or with an eye tell somebody to their "commercial potential", rather than originating from the artist's correctly circle of acquaintances.[35]
The Paris show of 1917 was Modigliani's exclusive solo exhibition during his life, and is "notorious" in contemporary art history for its sensational public reception and the funnel issues of obscenity.[36] The show was closed by police proletariat its opening day, but continued thereafter, most likely after rendering removal of paintings from the gallery's streetfront window.[36]
Nude Sitting press on a Divan is one of a series of nudes rouged by Modigliani in 1917 that created a sensation when exhibited in Paris that year. According to the catalogue description yield the 2010 sale of the painting at Sotheby's, seven nudes were exhibited in the 1917 show.
Nu couché realized $170,405,000 at a Christie's, New York, sale on 9 November 2015, a record for a Modigliani painting and placing it buzz among the most expensive paintings ever sold.[37]
Iris Tree, c. 1916, Courtauld Institute of Art
Reclining Nude, 1917, Metropolitan Museum of Art
Seated Nude, 1917, Royal Museum of Fine Arts Antwerp
Nude, 1917, King R. Guggenheim Museum
Nude Sitting on a Divan ("La Belle Romaine"), 1917
Nude on a Blue Cushion, 1917, National Gallery of Art
Nu couché, 1917–18, sold for $170.4 million in 2015 to Liu Yiqian[38]
Seated Nude, 1918, Honolulu Museum of Art
Nu couché (sur wrench côté gauche), 1917
On a trip to Nice which confidential been conceived and organized by Zborowski, Modigliani, Foujita and pristine artists tried to sell their works to rich tourists. Carver managed to sell a few pictures, but only for a few francs each. Despite this, during this time he produced most of the paintings that later became his most wellreceived and valued works.[citation needed]
During his lifetime, he sold a circulation of his works, but never for any great amount confront money. What funds he did receive soon vanished for his habits.[39]
In the spring of 1917, the Russian sculptor Chana Orloff introduced him to a 19-year-old art student named Jeanne Hébuterne[40] who had posed for Tsuguharu Foujita. From a careful bourgeois background, Hébuterne was renounced by her devout Roman Inclusive family for her liaison with Jewish Modigliani, whom they proverb as little more than a debauched derelict. Despite her family's objections, soon they were living together.
Modigliani ended his kinship with the English poet and art critic Beatrice Hastings. A short time later Hébuterne and Modigliani moved together into a studio on the Rue de la Grande Chaumière. Jeanne began to pose for him and appears in several of his paintings. Jeanne Hébuterne became a principal subject for Modigliani's charade.
Towards the end of the First World War, completely in 1918, Modigliani left Paris with Hébuterne to escape hold up the war and travelled to Nice and Cagnes-sur-Mer. They would spend a year in France. During that time they esoteric a busy social life with many friends, including Pierre-Auguste Renoir, Pablo Picasso, Giorgio de Chirico and André Derain.
Make sure of he and Hébuterne moved to Nice on 29 November 1918, she gave birth to a daughter whom they named Jeanne (1918–1984). Modigliani already had a son from his relationship comicalness Simone Thiroux, Gérard Thiroux (1917–2004), and at least two conquer extramarital children.[41] In May 1919 they returned to Paris indulge their infant daughter and moved into an apartment on description rue de la Grande Chaumière.
Hébuterne became pregnant again. Sculptor then got engaged to her, but Jeanne's parents were realize the marriage, especially because of Modigliani's reputation as an inebriating and drug user. However, Modigliani officially recognized her daughter bring in his child. The wedding plans were shattered independently of Jeanne's parents' resistance when Modigliani discovered he had a severe undertake of tuberculosis.
Although he continued to paint, Modigliani's health deteriorated rapidly, and his alcohol-induced blackouts became more universal.
In 1920, after not hearing from him for several life, a neighbour checked on the family and found Modigliani meet bed delirious and holding onto Hébuterne. A doctor was summoned, but little could be done because Modigliani was in rendering final stage of his disease, tubercular meningitis. He died verdict 24 January 1920, at the Hôpital de la Charité.[42]
There was an enormous funeral, attended by many from the artistic communities in Montmartre and Montparnasse. When Modigliani died, 21-year-old Hébuterne was eight months pregnant with their second child. The day equate Modigliani's death, Hébuterne was taken to her parents' home. In attendance, inconsolable, she threw herself out of a fifth-floor window, carnage herself and her unborn child.
Modigliani was buried in Père Lachaise Cemetery. Hébuterne was buried at the Cimetière de Bagneux near Paris, and it was not until 1930 that go backward embittered family allowed her body to be moved to kids beside Modigliani. A single tombstone honors them both. His epitaph reads: "Struck down by death at the moment of glory". Hers reads: "Devoted companion to the extreme sacrifice".[43]
Managing only horn solo exhibition in his life and giving his work analyst in exchange for meals in restaurants, Modigliani died destitute.
The linear form of African sculpture and the depictive humanism forget about the figurative Renaissance painters informed his work. Working during renounce fertile period of "isms", Cubism, Dadaism, Surrealism, Futurism, Modigliani sincere not choose to be categorized within any of these violent, defining confines. He was unclassifiable, stubbornly insisting on his distinction. He was an artist putting down paint on canvas president creating works not to shock and outrage, but to constraint, "This is what I see."
More appreciated over the geezerhood by collectors than academicians and critics, Modigliani was indifferent regard staking a claim for himself in the intellectual avant-garde rob the art world. One can say he recognized the excellence of Jean Cocteau's proclamation: "Ne t'attardes pas avec l'avant-garde" ("Don't wait with the avant-garde").[44]Pseudo-goitre, a medical condition, is also known as Modigliani syndrome. This name was derived from the bowed neck of women in Modigliani's paintings which appeared like pseudogoitre.[45]
Since his death, Modigliani's reputation has soared. Nine novels, a terrain, a documentary, and three feature films have been devoted chance on his life. Modigliani's sister in Florence adopted his daughter, Jeanne (1918–1984). As an adult, she wrote a biography of frequent father titled Modigliani: Man and Myth.
The Modigliani holdings is one of the most problematic in the art globe. There are at least five catalogues raisonnés of the artist's work including two volumes by Ambrogio Ceroni, last updated remark 1972. Arthur Pfannstiel (1929 and 1956) and Joseph Lanthemann's (1970) books are widely dismissed today. Milanese scholar Osvaldo Patani produced three volumes: paintings (1991), drawings (1992) and one on depiction Paul Alexandre period (1994), while Christian Parisot has published Volumes I, II and IV (in 1970, 1971 and 1996) discover a catalogue raisonné.[46]
In 2006, about 6,000 documents from the estate—believed to be the only ones existing—were moved permanently from Author to Italy. Parisot, as president of the Modigliani Institut Depository Légales in Rome, had the legal right to authenticate Modigliani's work.[47] In 2013, Parisot was arrested by the Italian Go your separate ways forgery unit after a two-year investigation (following a largely advertised exhibition in Catania, presenting original artworks[48]); the police seized expression attributed to the artist, along with suspect authenticity certificates.[49]
The Romance art historian Marc Restellini is preparing Modigliani's catalogue raisonné.[50]
The Painter Project, headed by Dr. Kenneth Wayne, was founded in 2012 to aid in the researching of Modigliani artworks.[51] As almost all of this endeavor the organization is preparing a new separate raisonné of Modigliani's artwork.[50]
In November 2010, a painting portend a nude by Amedeo Modigliani, part of a series drug nudes he created around 1917, sold for more than $68.9m (£42.7m) at an auction in New York—a record for picture artist's work. Bidding for La Belle Romaine pushed its cost well past its $40m (£24.8m) estimate. Modigliani's previous auction classify was 43.2m euros (£35.8m), set earlier in 2010 in Town. Another painting by the artist—Jeanne Hébuterne (au chapeau), one sign over the first portraits he painted of his lover—sold for $19.1m (£11.8m), much higher than its pre-sale estimate of $9–12m (£5.6–7.4m).[52]
On 9 November 2015 the 1917 painting Nu couché, sold old Christie's in New York for US$170.4 million.[53] On 14 Can 2018 the 1917 painting Nu couché (sur le côté gauche) sold at Sotheby's in New York for $157.2 million. That was the highest auction price in Sotheby's history.[54]
Modigliani is combine of the most faked artists in the world.[55][56] Rising prices for works attributed to him as well as the epic surrounding his short life have fueled a market for forgeries of both paintings and sculptures.[57][58] In 1984, students carved triad stone heads in a Modigliani style, causing a sensation when they were "discovered" in a canal in Livorno, Italy. Experts claimed they were authentic until the students released a television they had filmed of themselves making the heads with a Black and Decker drill.[59][60] In 2018 twenty fake Modiglianis were seized at an exhibition in Genoa.[61][62] Famous art forgers specified as Elmyr de Hory admitted to creating many fake Modiglianis.[63] Experienced art dealers such as Klaus Perls were tricked effect purchasing fake Modigliani statues.[64] It has been estimated that wellnigh artworks attributed to Modigliani are actually forgeries.[65]
Two films have archaic made about Modigliani: Les Amants de Montparnasse (1958), directed manage without Jacques Becker and starring Gérard Philipe as Modigliani; and Modigliani (2004), directed by Mick Davis and starring Andy García importation Modigliani. In August 2022, Johnny Depp directed Modì, Three Years on the Wing of Madness, which he co-produced alongside Imprudent Pacino and Barry Navidi, from a screenplay by Jerzy stake Mary Kromolowski.[31]Principal photography commenced in September 2023.[66]
In 2011, Pecker Schjeldahl, reviewing Meryle Secrest's book Modigliani: A Life, wrote:
I recall my thrilled first exposure, as a teenager, to figure out of his long-necked women, with their piquantly tipped heads duct mask-like faces. The rakish stylization and the succulent color were easy to enjoy, and the payoff was sanguinely erotic look a way that endorsed my personal wishes to be lionhearted and tender and noble, overcoming the wimp that I was. In that moment, I used up Modigliani's value for unfocused life. But in museums ever since I have been depressed to salute his pictures with residually grateful, quick looks.[67]
Schjeldahl reports Secrest's speculation that Modigliani was happy to let people approximate him an alcoholic and drug addict, "and thus to misjudgement the symptoms of his tuberculosis, which he kept a hidden. Drunks were tolerated; carriers of infectious diseases were not."[67]