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NOW FOR YOUR VIEWING PLEASURE…
THREE SISTERS
OR
GRAEAE
ACRYLIC OIL ON CANVAS
GICLEE PAINTING
SIGNED BY THE ARTIST
AMADEO MODIGLIANI
RETRO / MODERNIST STYLE
BY FAMED ARTIST
AMEDEO MODIGLIANI
AND HIS MUSE, JEANNE HEBUTERNE
GLICHE' MEASURES ABOUT 20" by 24"
3 SMILING FACES
SIBLINGS ARE KARDASHIAN IN APPEARANCE
HOW CAN YOU NOT SMILE
WITH THAT KIND OF MONEY
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FYI
Amedeo Clemente Modigliani (Italian pronunciation: [ameˈdɛːo modiʎˈʎaːni]; 12 July 1884 – 24 January 1920) was an Italian painter and sculptor who worked mainly in France. He is known for portraits and nudes in a modern style characterized by elongation of faces and figures, that were not received well during his lifetime, but later found acceptance. Modigliani spent his youth in Italy, where he studied the art of antiquity and the Renaissance, until he moved to Paris in 1906. There he came into contact with prominent artists such as Pablo Picasso and Constantin Brancuşi.
Modigliani's oeuvre includes mainly paintings and drawings. From 1909 to 1914, however, he devoted himself mainly to sculpture. His main subject was portraits and full figures of humans, both in the images and in the sculptures. During his life, Amedeo Modigliani had little success, but after his death he achieved greater popularity and his works of art achieved high prices. He died at age 35 in Paris of tubercular meningitis.
Modigliani was born into a Sephardic Jewish family in Livorno, Italy. A port city, Livorno had long served as a refuge for those persecuted for their religion, and was home to a large Jewish community. His maternal great-great-grandfather, Solomon Garsin, had immigrated to Livorno in the 18th century as a refugee.
Modigliani's mother (Eugenie Garsin), who was born and grew up in Marseille, was descended from an intellectual, scholarly family of Sephardic descent, generations of whom had resided along the Mediterranean coastline. Her ancestors were learned people, fluent in many languages, known authorities on sacred Jewish texts, and founders of a school of Talmudic studies. Family legend traced the Garsins' lineage to the 17th-century Dutch philosopher Baruch Spinoza. The family business was believed to be a credit agency with branches in Livorno, Marseille, Tunis, and London. Their financial fortunes ebbed and flowed.
Modigliani’s father, Flaminio, hailed from a family of successful businessmen and entrepreneurs. While not as culturally sophisticated as the Garsins, they knew how to invest in and develop thriving business endeavors. When the Garsin and Modigliani families announced the engagement of their children, Flaminio was a wealthy young mining engineer. He managed the mine in Sardinia and also managed the almost 30,000 acres of timberland the family owned. A reversal in fortune occurred to this prosperous family in 1883. An economic downturn in the price of metal plunged the Modiglianis into bankruptcy. Ever resourceful, Modigliani’s mother used her social contacts to establish a school and, along with her two sisters, made the school into a successful enterprise.
Modigliani was the fourth child, whose birth coincided with the disastrous financial collapse of his father's business interests. Amedeo's birth saved the family from ruin; according to an ancient law, creditors could not seize the bed of a pregnant woman or a mother with a newborn child. The bailiffs entered the family's home just as Eugenia went into labour; the family protected their most valuable assets by piling them on top of her.
In the spring of 1917, the Russian sculptor Chana Orloff introduced him to a beautiful 19-year-old art student named Jeanne Hebuterne who had posed for Tsuguharu Foujita. From a conservative bourgeois background, Hebuterne was renounced by her devout Roman Catholic family for her liaison with Modigliani, whom they saw as little more than a debauched derelict. Despite her family's objections, soon they were living together.
Modigliani ended his relationship with the English poet and art critic Beatrice Hastings and a short time later Hebuterne and Modigliani moved together into a studio on the Rue de la Grande Chaumiere. Jeanne began to pose for him and appears in several of his paintings. Jeanne Hebuterne became a principal subject for Modigliani's art.
On December 3, 1917, Modigliani's first one-man exhibition opened at the Berthe Weill Gallery in Paris. The chief of the Paris police was scandalized by Modigliani's nudes and forced him to close the exhibition within a few hours after its opening.
Towards the end of the First World War, early in 1918, Modigliani left Paris with Hebuterne to escape from the war and travelled to Nice and Cagnes-sur-Mer. They would spend a year in France. During that time they had a busy social life with many friends, including Pierre-Auguste Renoir, Pablo Picasso, Giorgio de Chirico and Andre Derain. After he and Hebuterne moved to Nice on November 29, 1918, she gave birth to a daughter whom they named Jeanne (1918–1984). In May 1919 they returned to Paris with their infant daughter and moved into an apartment on the rue de la Grande Chaumiere.
Hebuterne became pregnant again. Modigliani then got engaged to her, but Jeanne's parents were against the marriage, especially because of Modigliani's reputation as an alcoholic and drug user. However, Modigliani officially recognized her daughter as his child. The wedding plans were shattered independently of Jeanne's parents' resistance when Modigliani discovered he had a severe form of tuberculosis.
Last works and funeral
Although he continued to paint, Modigliani's health deteriorated rapidly, and his alcohol-induced blackouts became more frequent.
In 1920, after not hearing from him for several days, a neighbour checked on the family and found Modigliani in bed delirious and holding onto Hebuterne. A doctor was summoned, but little could be done because Modigliani was in the final stage of his disease, dying of tubercular meningitis. He died on January 24, 1920, at the Hopital de la Charite.
There was an enormous funeral, attended by many from the artistic communities in Montmartre and Montparnasse. When Modigliani died, twenty-one-year-old Hebuterne was eight months pregnant with their second child.
A day later, Hebuterne was taken to her parents' home. There, inconsolable, she threw herself out of a fifth-floor window, a day after Modigliani's death, killing herself and her unborn child. Modigliani was interred in Pere Lachaise Cemetery. Hebuterne was buried at the Cimetiere de Bagneux near Paris, and it was not until 1930 that her embittered family allowed her body to be moved to rest 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".
Managing only one solo exhibition in his life and giving his work away in exchange for meals in restaurants, Modigliani died destitute.
Legacy
Amedeo Modigliani, 1919, near the end of his life
The linear form of African sculpture and the depictive humanism of the figurative Renaissance painters informed his work. Working during that fertile period of “isms,” Cubism, Dadaism, Surrealism, Futurism, Modigliani did not choose to be categorized within any of these prevailing, defining confines. He was unclassifiable, stubbornly insisting on his difference. He was an artist putting down paint on canvas creating works not to shock and outrage, but to say, “This is what I see.” More appreciated over the years by collectors than academicians and critics, Modigliani was indifferent to staking a claim for himself in the intellectual avant-garde of the art world. One can say he recognized the merit of Jean Cocteau’s proclamation: “Ne t'attardes pas avec l'avante garde” (“Don’t pay attention to the avant-garde”).
Since his death, Modigliani's reputation has soared. Nine novels, a play, a documentary, and three feature films have been devoted to his life. Modigliani's sister in Florence adopted their daughter, Jeanne (1918–1984). As an adult, she wrote a biography of her father titled Modigliani: Man and Myth.
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 developed a case of typhoid fever. When he was 16 he was taken ill again and contracted the tuberculosis which would later claim his life. After Modigliani recovered from the second bout of pleurisy, his mother took him on a tour of southern Italy: Naples, Capri, Rome and Amalfi, then north to Florence and Venice.
His mother was, in many ways, instrumental in his ability to pursue art as a vocation. When he was 11 years of age, she had noted in her diary: "The child's character is still so unformed that I cannot say what I think of it. He behaves like a spoiled child, but he does not lack intelligence. We shall have to wait and see what is inside this chrysalis. Perhaps an artist?"
Art student years
Modigliani is known to have drawn and painted from a very early age, and thought himself "already a painter", his mother wrote, even before beginning formal studies. Despite her misgivings that launching him on a course of studying art would impinge upon his other studies, his mother indulged the young Modigliani's passion for the subject.
At the age of fourteen, while sick with typhoid fever, he raved in his delirium that he wanted, above 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 masters, the tales he had heard about the great works held in Florence intrigued him, and it was a source of considerable despair to him, in his sickened state, that he might never get the chance to view them in person. His mother promised that she would take him to Florence 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.
(THIS PICTURE FOR DISPLAY ONLY)
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