Dienstag, 27.06.2017 09:08 Uhr

La Femme en blouse marine by Modigliani

Verantwortlicher Autor: Carlo Marino Rome/Venice, 30.05.2017, 10:10 Uhr
Nachricht/Bericht: +++ Kunst, Kultur und Musik +++ Bericht 4341x gelesen

Rome/Venice [ENA] According to the Italian Press Agency ANSA a painting by Amedeo Modigliani will be exhibited at the Peggy Guggenheim Collection in Venice, starting from June and following a restoration work undertaken by the museum's conservation department. The canvas, «La Femme en blouse marine», 1916, became part of the Solomon R. Guggenheim Foundation thanks to a legacy of the Venetian collector Luisa Toso.

The painting is going to enhance the artistic-museum heritage of the city according to the will of the same donor. In addition, the canvas of "Modì", nickname of the artist, subject to the romantic malaise of the fin de siècle, (from the French “maudit”: damned), joins three other works belonging to the collection of the Solomon R. Guggenheim Museum in New York dating back to 1917-18. Crucial to the development of the Italian Painter (Livorno 1884 - Paris 1920) was his transfer to Paris: here he was in contact with avant-garde groups (particularly with fauves). He was influenced mainly by Pablo Picasso, H. de Toulouse- Lautrec and Paul Cézanne.

The reworking of these sources carried out the unity of linear and coloristic rhythms in the exploration of the human figure, the only and persistent theme of Modigliani's painting, studied in close-up and avant-garde shots . His first paintings were influenced by Picasso, Toulouse-Lautrec. In 1908 he presented to the «Indépendants» Exposition, the works clearly inspired by Cézanne and his attitude of evoking sensations by means of forms and colours were the basis for the trend towards abstraction which is central to the art of twentieth century.

He painted portraits and female nudes . His first personal exhibition took place in 1918 at the Weil Gallery, but his paintings (including « Nude with coral necklace») were judged indecent and consequently the closure of the exhibition was ordered. His stylistic research converged on the perfect unit of linear and coloristic rhythms: the highly sensitive sign aimed at transfiguring the image according to a musical sequence of curves, the color is intense, precious. A deep humanity emerges from the “alteration” of the figure (the unique and insistent theme of Modiglianis's painting), the tension of the lines, from the simple but still intrepid color arrangements. His many drawings are extraordinary for the purest rhythm of the sign.

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