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Artist: Amedeo Modigliani (1884-1920) Title: Female semi-nude, 1918 Description: Original art print (2020) Medium: High quality paper 250 g/m2, gloss finished coat Print: Offset lithography Size in centimeters: 60 x 80 Size in inches: 23.5 x 31.5 Condition: Excellent. This print has never been framed and has been kept in archival storage. All posters are prepared with the greatest care and packaged in a thick cardboard tube, in a shipping box. Free and insured shipping within Europe. Thank you for visiting my store!

Art.com | We Are Art We exist so you can have the art you love. Art.com gives you easy access to incredible art images and top-notch craftsmanship. High-Quality Framed Art Prints Our high-end framed wall art is printed on premium paper using non-toxic, archival inks that protect against UV light to resist fading. Experience unmatched quality and style as you choose from a wide range of designs to enhance your room décor. Professionally Crafted Framed Wall Art Attention to detail is at the heart of our process, as we exclusively use 100% solid wood frames that include 4-ply white core matboard and durable, frame-grade clear acrylic for clarity, long-lasting protection of the artwork and unrivaled quality. With a thoughtfully selected frame and mat combination, this piece is designed to complement your art and create a visually appealing display. Easy-to-Hang & Ready-to-Display Artwork Each framed art piece comes with hanging hardware affixed to the back of the frame, allowing for easy and convenient installation. Ready to display right out of the box. Handcrafted in the USA. The Print This giclée print delivers a vivid image with maximum color accuracy and exceptional resolution. The standard for museums and galleries around the world, giclée is a printing process where millions of ink droplets are “sprayed” onto high-quality paper. With the great degree of detail and smooth transitions of color gradients, giclée prints appear much more realistic than other reproduction prints. The high-quality paper (235 gsm) is acid free with a smooth surface.   Paper Type: Giclee Print Finished Size: 12" x 18" Arrives by Sat, Jun 15 Product ID: 58510881172A

Pequeños toques hacen grandes rasgos.

London auction house Christie's yesterday held a high-profile sale of impressionist paintings, but did the prices hold up in a difficult art market?

Mujer sentada con vestido azul, 1918 El Desnudo acostado Tate Modern’ Jeanne Hebuterne, 1918. 1918 Christina La rubia Renée 1916 Secret Modigliani

A sculpted limestone head by Amedeo Modigliani sells for 43.2m euros (£35.8m) at Christie's auction house in Paris - a record for the artist.

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Introducing our breathtaking high-quality canvas print of the artwork Jeanne Hébuterne (1919) by Amedeo Modigliani, a timeless masterpiece that beautifully captures the essence of modern art. This exquisite reproduction showcases the beauty of imagination, a true celebration of art and creativity. Perfect for adding a touch of sophistication to any space, this print seamlessly blends timeless beauty with modern appeal. Adorn your walls with this enchanting piece, and immerse yourself in the allure of famous modern art. Choose a wrapped canvas print on a wooden subframe (ready to hang, professional look, no need to frame it) or a poster (printed on photo paper with satin finish 240g/m², unframed). Choose what size canvas (or poster) you want. If you choose this image as a poster, it may be positioned with a little bit of white background around it (or be cropped a little), because the image may not be not equal to the paper dimensions. DETAILS: • Textured canvas 260g density. • We use an ultra-high-quality wide-format printer, so the colors look very vivid and realistic. • Non-toxic water-based inks so you can hang the canvas in your or your child's bedroom. • The canvas prints are coated with high-quality non-toxic matte lacquer for even better durability. • Canvas is wrapped on a wooden subframe (pine subframe thickness – 2 cm | 0.8 inches). • Our canvases are ready to hang and packed in several layers of packing material, so they can't be damaged. • Colors do not fade. Canvases by default are unframed, but we can frame them for you (please select it in the Personalization tab). Framing costs extra and all the details will be arranged via personal message after you order. IMPORTANT: We DO NOT frame posters. NOTE: The print can contain some slightly visible grain, texture, or cracks due to the old age of the painting. Care instructions will be sent together with your order. You can additionally read them in our FAQ section.

Wall Art by Art Classics on Photocircle.net. Custom formats for a diverse range of products such as posters, aluminium prints, acrylic glass prints, framed prints, canvas, and fine art prints.

ART's Collection series. Framed reproduction on Fine Art or Semi-Gloss paper of the work of Amedeo Modigliani "Léopold Zborowski" from 1911-1920 Each reproduction is offered in multiple sizes so you can find the perfect match for your home decor. 2 paper options: -Fine art: 310 g/m² matte (watercolor) -Semi-gloss: 250 g/m² glossy white satin finish (photo) The posters come in a wooden (pine) frame with a stylish black finish. With its rear mounting and protective rubber pads, the board is ready to install. This will ensure the protection of the surface of your wall and will provide excellent support for your painting. The window is made of unbreakable plexiglass. Comes with fixing. Ready to install. Free delivery.

Art.com | We Are Art We exist so you can have the art you love. Art.com gives you easy access to incredible art images and top-notch craftsmanship. High-Quality Framed Art Prints Our high-end framed wall art is printed on premium paper using non-toxic, archival inks that protect against UV light to resist fading. Experience unmatched quality and style as you choose from a wide range of designs to enhance your room décor. Professionally Crafted Framed Wall Art Attention to detail is at the heart of our process, as we exclusively use 100% solid wood frames that include 4-ply white core matboard and durable, frame-grade clear acrylic for clarity, long-lasting protection of the artwork and unrivaled quality. With a thoughtfully selected frame and mat combination, this piece is designed to complement your art and create a visually appealing display. Easy-to-Hang & Ready-to-Display Artwork Each framed art piece comes with hanging hardware affixed to the back of the frame, allowing for easy and convenient installation. Ready to display right out of the box. Handcrafted in the USA. The Giclee printing process delivers a fine stream of ink resulting in vivid, pure color and exceptional detail that is suitable for museum or gallery display. This art print is produced on a lightly textured superior stock 240 gsm, acidfree and 100% cotton watercolor paper. The Print This giclée print delivers a vivid image with maximum color accuracy and exceptional resolution. The standard for museums and galleries around the world, giclée is a printing process where millions of ink droplets are “sprayed” onto high-quality paper. With the great degree of detail and smooth transitions of color gradients, giclée prints appear much more realistic than other reproduction prints. The high-quality paper (235 gsm) is acid free with a smooth surface.   Paper Type: Giclee Print Finished Size: 16" x 22" Arrives by Wed, Jun 12 Product ID: 9508642067A

The making of a cover portraits for the album Mortality Mansions, a song-cycle by Herschel Garfein, set to poems by Donald Hall and Jane Kenyon.

Soon after his arrival in Paris, in 1906, he switched to sculpture. He had the idea of a ‘temple to humanity’, with hundreds of caryatids to support it.

Global Gallery Cette toile tendue à la main de l’ensemble « portrait de Mario » de Amedeo Modigliani. (Marios Varvoglios) est une reproduction de qualité muséale du travail original. Il s’agit d’un ajout bienvenu à tout type de décor. | Global Gallery «portrait de mario. «marios varvoglios)» par amedeo modigliani, reproduction d’art sur toile tendue

Inside you'll find an easy Modigliani Art Project Tutorial Video and Modigliani Coloring Page. Stop by and grab yours for free.

After a long interruption, continuing with my review of Meryle Secrest's book, Modigliani: A Life... (Part One is here.) Amedeo Modigliani about 1916, from the full-length photo of him that appears on the book's dustjacket When I left off, Modigliani was sculpting and working closely with Brancusi, according to Secrest, and she even implies that perhaps Brancusi got the idea for his Endless Column from Modi, as others have said. Modigliani worked for about four years as a sculptor, from 1910 to the spring of 1913. One of his ideas was to create a Temple of Beauty, apparently including caryatids supporting the roof. He worked for two or three years drawing and sketching these figures. One of Modi's caryatids with beads around her waist and pubic area A more active version Another caryatid from 1913 During this time Modigliani was sculpting heads from stone that he found or "borrowed", but he was unable to sell his work. He exhibited at the Salon des Independants and in a private show with another sculptor. The first sale of sculpture that he made was to the artist August John, who visited Modi's studio and bought two of them for a few hundred francs. Poor and ill Other than this windfall sale, Modigliani was desperate for money. He generally made a little income by roaming the cafes for likely prospects who would pay for the portraits he drew of them on the spot. Secrest quotes a contemporary painter describing Modi at work: "His working method was always the same. He would begin with the two essential points, first the nose of his model, which one finds emphasized in all his work, next the eyes, with their different polarities, then the mouth and finally the outline of the face, delicately indicated by cross-hatching....He was usually good for four or five drawings like this, sometimes more, that were superb. The rest were usually dissolved in drink." Jean Cocteau said Modi "used to hand out his drawings like some gypsy fortuneteller, giving them away..." Modigliani's portrait of Diego Rivera, 1914 During the winter of 1912-13, Modigliani suffered from poverty and illness, to the point that his friends took up a collection to send him home to his mother in Livorno to nurse him back to health. After his return to Montmarte in the spring, Modigliani apparently drifted away from sculpting for several reasons, including the strenuousness of carving stone and his inability to sell the work or interest anyone in it. (Secrest says that 27 of Modigliani's sculptures have survived - 17 of them in museums. One that was privately owned sold in June 2010 for $52.8 million.) More Alcohol, Drugs and Bad Behavior Apparently Modi's consumption of alcohol increased from about 1914, after his return from Livorno. Secrest believes that was because his tuberculosis symptoms worsened and he drank to keep from coughing and spitting. Laudanum (opium dissolved in alcohol) was the preferred antispasmodic along with morphine and heroin - all legal drugs. Next in order were cognac, brandy and whiskey. If nothing else was available, small sips of wine would work. Modi also used hashish. At this time, Modi began to act out when he drank, removing his clothing, breaking glasses, insulting waiters and customers in the cafes. Secrest believes that he was "no shambling drunk but a man on a desperate mission, running out of time and calculating what he had to do in order to go on working and concealing his secret for however long remained....At the same time he was launching himself on the most successful and productive period of his career." Two Dealers Modigliani finally found a dealer for his work, Guillaume Cheron, who paid him ten francs a day to paint. Cheron provided a studio, paints, brushes, canvas, a model and a bottle of brandy. The arrangement was pursued for a while, but Modigliani resented working for Cheron. Soon after he split with this dealer, Modi was introduced to Paul Guillaume, who became his new dealer. Modigliani's dealer 1914-1918, Paul Guillaume Beatrice Hastings In the same year, 1914, Modigliani met Beatrice Hastings, who wrote a weekly column about life in Paris and who became his lover. He moved in with her and she may also have paid for his studio. Secrest writes quite a lot about Beatrice and quotes from her columns, which I found so insular that they were not understandable. The world was on the edge of World War I and Paris began to have fortifications built around it. Refugees began arriving and Parisians mobbed trains, taxis and every mode of transportation trying to leave the city. One of Modigliani's many portraits of Beatrice Beatrice in as Madame Pompadour Influences Modigliani made a successful transition from sculptor to painter, and Secrest speculates that the distinctive look he developed in his portraits arose from his own illness and the "Romantic tradition of the consumptive" such as portrayed by the pre-Raphaelites in cadaverous bodies and sensual mouths. Modigliani was influenced by his study of African sculpture and perhaps also by Picasso's portrait of Gertrude Stein, which Secrest believes Modi would have seen in Picasso's studio. "The more he paints individuals the more their particular features fade into the background, and the more faces seem encased in a smooth shell as hard as a carapace, " says Secrest. Unlike Picasso, however, Modigliani was not interested in rearranging the features of a face but in "trying to simplify and reduce to the irreducible minimum the essence of a personality without actually losing it altogether." Others have said that the mask-like faces he painted may have come from the commedia dell'arte or from his family's example of concealing emotional stress and presenting a mask of pride to the world despite desperate circumstances (a stretch). The long necks, tilted heads and masked expressions of Botticelli may have been another influence on Modigliani Botticelli madonna The Painting Tally Secrest provides a tally of the number of paintings Modigliani painted during his days in Paris as researched and published by Ambrogio Ceroni in I dipinti di Modigliani of 1970. Between 1906 and 1913, Modigliani completed about 40 paintings. After putting aside sculpture and turning to painting full time in 1914, Modigliani made seven paintings that year. He began to accelerate his work after that and made 53 paintings in 1915, 58 in 1916, 58 in 1917, 66 in 1918, and in his final year of life, when he was quite ill, he was still able to complete 54 paintings, a grand total of 270. However, some scholars believe that the Ceroni list is incomplete and that actually there were between 425 and 450 works made by Modigliani during his 13 years in Paris. Modigliani did not paint portraits on commission but painted friends, lovers, acquaintances, professional models (when he could afford to pay them) and people he saw on the street and invited to sit for him. Jeanne Hebuterne The Final Girlfriend Modigliani and Beatrice Hastings were not well matched, according to Secrest: she was a proto-feminist and he was an "old-fashioned Italian." They split up sometime in 1916 and that same year Modigliani met Jeanne or Jeannette Hebuterne, a young art student, 16 years his junior. They became lovers and in the spring of 1918, Jeanne found she was pregnant. Secrest speculates that Modigliani may have fathered a couple of children with other women that he did not or would not claim. In Jeanne's case, there was no denying it, but Modigliani would not marry her, despite the disgrace that pregnancy brought on her and the shock and horror her parents felt. Jeanne delivered the baby girl, also named Jeanne Hebuterne, in Nice, where she had gone with her mother to escape the public knowledge of her condition. Modigliani also relocated to Nice for a few months with several other artists because of the encroachment of the war on Paris. Shortly after the end of her first pregnancy, Jeanne became pregnant again. Leopold Zborowski, 1918, Modigliani's final dealer The Final Dealer By this time, Modigliani had signed with his new dealer, Leopold Zborowski, an up and comer who was determined to make a success of himself. Zborowski also represented Utrillo, a "hopeless alcoholic," and when he signed Modigliani, it was with the understanding that he would also represent Modigliani's pal Soutine, who was such a disreputable presence that Zborowski's wife would not let him in their house. Zborowski wanted Modigliani to begin painting nudes because they would attract attention (and sales). Secrest says Modi's nudes are among his most famous works and were described by Kenneth Clark in The Nude as "simple, sensuous and passionate as the poetry of Keats." Modigliani's nudes displayed one shocking characteristic - they showed underarm and pubic hair! When Modigliani had his first one-man show in late 1917, he included several nudes among the 37 paintings he showed. This exhibition attracted the attention of local police who made the gallery remove a painting of a nude with pubic hair from the window because it was "an offense against public morals." Modigliani Meets Success -- Too Late Initially, Zborowski was unable to sell Modigliani's work, but he doggedly kept at it, trying to persuade people to buy the work or even being willing to give it away to promote the artist he so strongly believed in. By the time Modigliani's work was recognized by a well-known art critic, it was 1919, near the end of his life. Roger Fry, an artist and critic in London, reviewed the paintings Modigliani showed in a group exhibition of other French artists at the Mansard Gallery in London. Modigliani had 59 paintings in the show, more than anyone else. "Suddenly everybody who was anybody wanted a Modigliani," says Secrest. In August of 1919 when he was scheduled to be in London at the exhibition that put him on the map, Modigliani was back in Paris suffering from another bout of influenza. He was too sick to travel and his health was so poor that his dealer put holds on sales of his paintings in London in the expectation that prices would double or triple if Modigliani died! Self portrait, 1919 Tuberculous Meningitis Secrest describes the condition that ultimately became the cause of Modigliani's death when the tubercular bacillus traveled to his brain. She says that the bacillus can migrate anywhere in the body, although it primarily attacks the lungs. "It can infect the spine, lymph nodes, genitourinary tract, gastrointestinal or peritoneum, and so on." In tuberculous meningitis, the membrane covering the brain and spinal cord (the meninges) become infected. If untreated, the condition leads to blindness and death. "Tuberculosis is exacerbated by malnutrition, excessive alcohol and drug use, or other disorders that compromise the immune system," Secrest says, and these are the very conditions that had plagued Modigliani for years. Modigliani in 1919 Struggling Toward the End That fall of 1919, Modigliani was slow to recover from the flu and had very low energy for painting although Vlaminck described him as "continually in a state of febrile agitation. The least vexation would make him wildly excited." He was trying to paint but had to keep taking to his bed because he became so tired as the bacillus invaded various parts of his body, including his kidneys. By this time, the handsome, aristocratic-looking man had become thin, drawn and toothless. All his teeth had fallen out due to the disease, malnutrition or drugs. Modigliani became more and more ill, finally unable to leave his bed and ultimately being taken to a hospital, where he died two days later on January 24th, 1920. Jeanne 1919 Valued More in Death Than in Life Modigliani's friends arranged an elaborate funeral for him and burial in Pere Lachaise Cemetary. Secrest says that the amount spent on the funeral was an ironic contrast to the poverty in which Modigliani had lived for years. Jeanne, who had been eight months pregnant at the time of Modigliani's death, was not present at the funeral on 27th of January. She jumped to her death from a window in her parents' sixth floor apartment at 3:00 a.m. on January 25th. She was buried in disgrace by her parents a few days later in a suburban town, and her body was moved to Modigliani's grave a few years later. Jeanne Hebuturne and Modigliani's daughter, Jeanne, who was legally recognized as a Modigliani at age 3 1/2. Later in her life, Jeanne became an artist and also an alcoholic. The Inheritance Due to the dogged persistence of his mother, both Jeanne Hebuternes received the recognition they deserved for their place in his life. Jeanne the mother was moved to Modigliani's grave and their daughter became Jeanne Modigliani, in legal recognition of his parentage. As his only recognized living child, Jeanne Modigliani would inherit the proceeds from sales of Modigliani's work. In the usual arrangement that her father had with his dealers, they owned four-fifths of the sale price while one-fifth went to the artist or his heirs. Unfortunately for Jeanne, most of her father's work was owned by the dealers so that her share of sale proceeds was fairly small, however, she did earn substantial fees for authentification of his works. Under French law, only an artist's family has the right to pronounce on a work's authenticity (called the "droit morale" or moral right) and is paid a fee for this service. Unfortunately, Jeanne certified many paintings that apparently were not authentic. One of the many Modigliani fakes The legend of Modigliani the drunken wastrel was promoted in the 2004 movie about his life starring Andy Garcia as Modigliani. He was also portrayed in the movie as a bitter rival of Picasso - a fictional invention. Life is usually more glamorous and simpler in the movies. The true story of Modigliani is tragic and ironic in that his work is so valued today while it was worthless during his life. Secrest's book gives all the details and relates as much of the truth as she was able to find. It was worthwhile reading if only to confirm again that artists' struggles are nothing new, and that if we find it hard to achieve monetary success as artists today, we are in good company. (Note: read Joanne Mattera's comment below for a good summing up.)

Oil on paper, mounted on wood; 52.1 x 33.7 cm. Modigliani was born into a Jewish family of merchants. As a child he suffered from pleurisy and typhus, which prevented him from receiving a conventional education. In 1898 he began to study painting. After a brief stay in Florence in 1902, he continued his artistic studies in Venice, remaining there until the winter of 1906, when he left for Paris. His early admiration for Italian Renaissance painting—especially that of Siena—was to last throughout his life. In Paris Modigliani became interested in the Post-Impressionist paintings of Paul Cézanne. His initial important contacts were with the poets André Salmon and Max Jacob, with the artist Pablo Picasso, and—in 1907—with Paul Alexandre, a friend of many avant-garde artists and the first to become interested in Modigliani and to buy his works. In 1908 the artist exhibited five or six paintings at the Salon des Indépendants. In 1909 Modigliani met the Romanian sculptor Constantin Brancusi, on whose advice he seriously studied African sculpture. To prepare himself for creating his own sculpture, he intensified his graphic experiments. In his drawings Modigliani tried to give the function of limiting or enclosing volumes to his contours. In 1912 he exhibited at the Salon d’Automne eight stone heads whose elongated and simplified forms reflect the influence of African sculpture. Modigliani returned entirely to painting about 1915, but his experience as a sculptor had fundamental consequences for his painting style. The characteristics of Modigliani’s sculptured heads—long necks and noses, simplified features, and long oval faces—became typical of his paintings. He reduced and almost eliminated chiaroscuro (the use of gradations of light and shadow to achieve the illusion of three-dimensionality), and he achieved a sense of solidity with strong contours and the richness of juxtaposed colors. The outbreak of World War I in 1914 increased the difficulties of Modigliani’s life. Alexandre and some of his other friends were at the front, his paintings did not sell, and his already delicate health was deteriorating because of his poverty, feverish work ethic, and abuse of alcohol and drugs. He was in the midst of a troubled affair with the South African poet Beatrice Hastings, with whom he lived for two years, from 1914 to 1916. He was assisted, however, by the art dealer Paul Guillaume and especially by the Polish poet Leopold Zborowski, who bought or helped him to sell a few paintings and drawings. Modigliani was not a professional portraitist; for him the portrait was only an occasion to isolate a figure as a kind of sculptural relief through firm and expressive contour drawing. He painted his friends, usually personalities of the Parisian artistic and literary world (such as the artists Juan Gris and Jacques Lipchitz, the writer and artist Jean Cocteau, and the poet Max Jacob), but he also portrayed unknown people, including models, servants, and girls from the neighborhood. In 1917 he began painting a series of about 30 large female nudes that, with their warm, glowing colors and sensuous, rounded forms, are among his best works. In December of that year Berthe Weill organized a solo show for him in her gallery, but the police judged the nudes indecent and had them removed. In 1917 Modigliani began a love affair with the young painter Jeanne Hébuterne, with whom he went to live on the Côte d’Azur. Their daughter, Jeanne, was born in November 1918. His painting became increasingly refined in line and delicate in colour. A more tranquil life and the climate of the Mediterranean, however, did not restore the artist’s undermined health. After returning to Paris in May 1919, he became ill in January 1920; 10 days later he died of tubercular meningitis. Little-known outside avant-garde Parisian circles, Modigliani had seldom participated in official exhibitions. Fame came after his death, with a solo exhibition at the Bernheim-Jeune Gallery in 1922 and later with a biography by André Salmon. For decades critical evaluations of Modigliani’s work were overshadowed by the dramatic story of his tragic life, but he is now acknowledged as one of the most significant and original artists of his time.

Of all the striking characteristics seen in Modigliani's portraits, be they the elongated visages or the disfigured features, the mysterious, hazy eyes

Amedeo Modigliani was born July 12, 1884, in Livorno, Italy. The serious illnesses he suffered during his childhood persisted throughout his life. At age 14, he began to study painting. The only solo show given the artist during his lifetime took place at the Galerie Berthe Weill in December 1917. Modigliani died January 24, 1920, in Paris. For more biographical notes on Modigliani see part 1, and for earlier works, see parts 1 and 2 also. This is part 3 of a 9-part series on the works of Amedeo Modigliani: 1915 Portrait of a Young Girl oil on cardboard 51 x 37 cm Private Collection 1915 Raimondo oil on paper 51.5 x 33 cm Private Collection 1915 Rosa Porprina oil and crayon on paper 44 x 27 cm Galleria d'Arte Moderna di Milano, Italy 1915 Rosalia oil on canvas 46 x 38 cm Private Collection 1915 Teresa pencil and oil on paper 43.5 x 26.5 cm Denver Art Museum, Colorado 1915 The Fat Child oil on canvas Private Collection 1915 The Pretty Housewife oil on canvas The Barnes Foundation, Philadelphia, PA 1915 The Red Head oil on canvas Musée National d'Art Moderne ( Centre Pompidou ), Paris 1915 Woman Seated in front of a Fireplace oil on canvas Private Collection 1915 Woman with Velvet Ribbon oil on card laid down on cradled plywood 54 x 45 cm Musée de l'Orangerie, Paris © RMN-Grand Palais 1915 Woman's Head oil and gouache over pencil on tan paper, laid down on board 43.2 x 26.3 cm Private Collection 1915 Woman's Head oil on canvas 46 x 38 cm Pinacoteca di Brera, Milan, Italy 1915 Woman's Head oil on cardboard laid down on panel 35 x 27 cm Private Collection 1915 Young Woman with a Small Ruff oil on canvas 55.4 x 38.7 cm Private Collection 1915-16c Portrait of a Woman graphite on off-white wove paper 43.6 x 26.4 cm Harvard Art Museums, Cambridge, MA © President and Fellows of Harvard College 1915-16c The Newlyweds oil on canvas 55 x 46 cm Museum of Modern Art, New York 1915-17 Head of a Girl graphite, pen and watercolour on paper 32.4 x 26.6 cm The Courtauld Institute of Art, London 1915c Antonia oil on canvas 82 x 46 cm Musée de l'Orangerie, Paris © RMN-Grand Palais 1915c Beatrice Hastings Standing by a Door oil on canvas 81.3 x 46.4 cm Private Collection 1915c Chaim Soutine oil on canvas 1915c Man's Head oil on canvas 46 x 38.1 cm Detroit Institute of the Arts, MI 1915c Pierre Reverdy oil on canvas 40.7 x 33.7 cm Private Collection 1915c Portrait of a Woman oil on canvas Private Collection 1915c Reclining Nude oil on canvas 51.8 x 65.2 cm Private Collection 1915c Young Woman, Seated oil on paper laid down on board 75 x 52,4 cm The Fitzwilliam Museum, Cambridge, UK 1916 Anna ( Hanka ) Zabrowska oil on canvas 76.2 x 45.1 cm 1916 Beatrice Hastings oil on canvas 64.9 x 45.9 cm Private Collection 1916 Beatrice Hastings oil on canvas The Barnes Foundation, Philadelphia, PA 1916 Benito graphite on ivory wove paper laid down on card 43.4 x 26.6 cm Art Institute of Chicago, IL 1916 Chaim Soutine oil on canvas 100 x 65 cm 1916 Count Weilhorski oil on canvas 1916 Head of a Young Girl oil on canvas 66.4 x 50.5 cm Private Collection 1916 Jacques and Berthe Lipchitz oil on canvas 81.3 x 54.3 cm Art Institute of Chicago, IL 1916 Leopold Zborowski oil on canvas 65 x 43 cm Israel Museum, Jerusalem 1916 Lolotte oil on canvas 55 x 35 cm Musée National d'Art Moderne de Paris, France 1916 Madame Dorival oil on canvas 61 x 38 cm Kunstmuseum Basel, Switzerland Manuel Humbert Esteve I (1890 Barcelona – 1975 Barcelona) was a Spanish artist. He trained at the School of La Llotja and with Francesc d'Assís Galí. He became known as a cartoonist in the satirical newspaper “Papitu,” with the pseudonym “Isaac,” and collaborated with “Picarol” magazine. Between 1909 and 1939 he lived between Barcelona and Paris, where he made friends with Picasso, Modigliani, Chaïm Soutine, and Moïse Kisling: 1916 Manuel Humbert oil on canvas 100.2 x 65.5 cm National Gallery of Victoria, Melbourne, Australia 1916 Marguerite Seated oil on canvas 80 x 39.6 cm Private Collection 1916 Max Jacob oil on canvas Kunstsammlung Nordrhein-Westfalen, Dusseldorf, Germany

Equally famous for his masterful canvasses and tumultuous mental health, Amedeo Modigliani (1884-1920) was, in many ways, the prototypical tortured artist. A lifelong sufferer of painfully degenerative tuberculosis, Modigliani was famous for denying his disease with a frenzied bohemian lifestyle of hard drinking, drug abuse, and passionate love affairs. But at the same time, he managed to produce some of the modern movement’s most enduring masterpieces, and today his work sells for record-breaking sums whenever it comes up for auction. In this fascinating examination of Modigliani’s life and works, Klaus H. Carl, Frances Alexander, and Jane Rogoyska turn their penetrating gaze on this most enigmatic of artistic geniuses. Their insightful text is accompanied by extracts from D.H. Lawrence’s highly sensual novel Lady Chatterley’s Lover, chosen to complement Modigliani’s art and to give a new perspective to it.

Philippe Maestracci alleges the Helly Nahmad Gallery in Manhattan, New York is wrongly in possession of the 1918 painting, 'Seated Man With a Cane,' (pictured) by Italian artist Amedeo Modigliani.

A limestone bust of a woman by Amedeo Modigliani sold for $52.6 million at Christie's in Paris on Monday, making it the priciest artwork ever sold at auction in France.

Mujer sentada con vestido azul, 1918 El Desnudo acostado Tate Modern’ Jeanne Hebuterne, 1918. 1918 Christina La rubia Renée 1916 Secret Modigliani

l’aforisma di ArtsLife "L'uomo è un mondo che a volte vale mondi interi" Amedeo Modigliani (1884 - 1920)