Misplaced Pages

#900099

100-542: Modigliani ( [modiʎˈʎaːni] ) is a Jewish Italian surname, which may refer to: People [ edit ] Amedeo Modigliani (1884–1920), painter and sculptor Elio Modigliani (1860–1932), anthropologist, zoologist, and plant collector Ettore Modigliani (1873–1947), Italian functionary Franco Modigliani (1918–2003), economist Jeanne Modigliani (1918–1984), daughter and biographer of Amedeo Modigliani Other uses [ edit ] Modigliani (film) ,

200-567: A modern style characterized 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 Italy, where he studied the art of antiquity and the Renaissance . In 1906, he moved to Paris, where he came into contact with such artists as Pablo Picasso and Constantin Brâncuși . By 1912, Modigliani

300-444: A 2004 biographical film about Amedeo Modigliani " Modigliani (Lost In Your Eyes) ", a 1987 single from the band Book of Love See also [ edit ] Modigliani–Miller theorem , an influential element of economic theory Modigliani risk-adjusted performance , a measure of risk-adjusted performance in economics Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with

400-569: A dapper academician artist into a sort of prince of vagabonds. The poet and journalist Louis Latourette , upon visiting the artist's previously well-appointed studio after his transformation, discovered the place in upheaval, the Renaissance reproductions discarded from the walls, the plush drapes in disarray. Modigliani was already an alcoholic and a drug addict by this time, and his studio reflected this. Modigliani's behaviour at this time sheds some light upon his developing style as an artist, in that

500-641: A family trying to maintain the appearances of its lost financial standing to present: his wardrobe was dapper without ostentation, and the studio he rented was appointed in a style appropriate to someone with a finely attuned taste in plush drapery and Renaissance reproductions. He soon made efforts to assume the guise of the bohemian artist, but, even in his brown corduroys, scarlet scarf and large black hat, he continued to appear as if he were slumming it, having fallen upon harder times. When he first arrived in Paris, he wrote home regularly to his mother, sketched his nudes at

600-471: A favor to his friend, or with an eye to their "commercial potential", rather than originating from the artist's personal circle of acquaintances. Salon d%27Automne Perceived as a reaction against the conservative policies of the official Paris Salon , this massive exhibition almost immediately became the showpiece of developments and innovations in 20th-century painting , drawing , sculpture , engraving , architecture and decorative arts . During

700-505: A furious 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 frequent changes of address, or given to girlfriends who did not keep them. He was first influenced by Henri de Toulouse-Lautrec , but around 1907 he became fascinated with the work of Paul Cézanne . Eventually he developed his own unique style, one that cannot be adequately categorized with those of other artists. He met

800-571: A liberty or wideness of expression unattained through several centuries of painting. (Huntly Carter, 1911) The Salon d'Automne of 1912 was held in Paris at the Grand Palais from 1 October to 8 November. The Cubists (a group of artists now recognized as such) were regrouped into the same room, XI. The 1912 polemic leveled against both the French and non-French avant-garde artists originated in Salle XI of

900-582: A long review in the April 20, 1911, issue of L'Intransigeant . Thus Cubism spread into the literary world of writers, poets, critics, and art historians. Apollinaire took Picasso to the opening of the Salon d'Automne in 1911 to see the cubist works in Room 7 and 8. Albert Gleizes writes of the Salon d'Automne of 1911: "With the Salon d'Automne of that same year, 1911, the fury broke out again, just as violent as it had been at

1000-416: A new movement in painting, perhaps the most remarkable in modern times, It revealed not only that artists are beginning to recognise the unity of art and life, but that some of them have discovered life is based on rhythmic vitality, and underlying all things is the perfect rhythm that continues and unites them. Consciously, or unconsciously, many are seeking for the perfect rhythm, and in so doing are attaining

1100-461: 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

SECTION 10

#1733085898901

1200-489: A plaster bust, Œsope (no. 498 and 499). His brother Jacques Villon exhibited six works. Kees van Dongen showed three works, Montmartre (492), Mademoiselle Léda (493) and Parisienne (494). André Derain exhibited Westminster-Londres (438), Arbres dans un chemin creux (444) and several other works painted at l'Estaque . Retrospective exhibitions at the 1906 Salon d'Automne included Gustave Courbet , Eugène Carrière (49 works) and Paul Gauguin (227 works). At

1300-477: A platform to broaden the dissemination of Impressionism and its extensions to a popular audience. Choosing the autumn season for the exhibition was strategic in several ways: it not only allowed artists to exhibit canvases painted outside ( en plein air ) during the summer, it stood out from the other two large salons (the Société Nationale des Beaux-Arts and Salon des artistes français ) which took place in

1400-587: A radical departure further still. I have in front of me a small cutting from an evening newspaper, The Press , on the subject of the 1910 Salon d'Automne. It gives a good idea of the situation in which the new pictorial tendency, still barely perceptible, found itself: The geometrical fallacies of Messrs. Metzinger, Le Fauconnier, and Gleizes . No sign of any compromise there. Braque and Picasso only showed in Kahnweiler's gallery and we were unaware of them. Robert Delaunay, Metzinger and Le Fauconnier had been noticed at

1500-507: A sounding board for the developing ideas brewing in Modigliani's mind. Ghiglia was seven years Modigliani's senior, 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 older companions, and Ghiglia's role in his adolescence was to be a sympathetic ear as he worked himself out, principally in

1600-581: A statement that if forced to choose, he would join the Salon d'Automne and resign from the Société Nationale des Beaux-Arts. The valuable publicity generated by the press articles on the controversy worked in favor of the Salon d'Automne . Thus, Eugène Carrière saved the burgeoning salon. Henri Marcel, sympathetic to the Salon d'Automne , became director of the Beaux-Arts, and assured it would take place at

1700-514: A study of the styles and themes of 19th-century Italian art. In his earliest Parisian work, traces of this influence, and that of his studies of Renaissance art , can still be seen. His nascent work was influenced by such Parisian artists as Giovanni Boldini and Toulouse-Lautrec . Modigliani showed great promise while with Micheli, and ceased his studies only when he was forced to, by the onset of tuberculosis. In 1901, whilst in Rome, Modigliani admired

1800-475: A taste for this style of working, sketching in cafés, but preferring to paint indoors, and especially in his own studio. Even when compelled to paint landscapes (three are known to exist), Modigliani chose a proto- Cubist palette more akin to Cézanne than to the Macchiaioli. While with Micheli, Modigliani studied not only landscape, but also portraiture, still life, and the nude. His fellow students recall that

1900-517: A thick impasto and larger brushstrokes. At the same exhibition Paul Cézanne was represented by ten works. He wouldn't live long enough to see the end of the show. Cézanne died 22 October 1906 (aged 67). His works included Maison dans les arbres (no. 323), Portrait de Femme (no. 235) and Le Chemin tournant (no. 326). Constantin Brâncuși entered three plaster busts: Portrait de M. S. Lupesco , L'Enfant and Orgueil (no. 218 - 220). Raymond Duchamp-Villon exhibited Dans le Silence (bronze) and

2000-491: A venue where unknown artists could be recognized, while 'wrestling' the public out of its complacency were, to Jourdain, the greatest contributions to society the critic could make. The platform of the Salon d'Automne was based on an open admission, welcoming artists in all areas of the arts. Jurors were members of society itself, not members of the Academy, the state, or official art establishments. Refused exhibition space in

2100-400: 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?" Modigliani is known to have drawn and painted from a very early age, and thought himself "already

SECTION 20

#1733085898901

2200-470: Is different from Wikidata All article disambiguation pages All disambiguation pages Amedeo Modigliani Amedeo Clemente Modigliani ( US : / ˌ m oʊ d iː l ˈ j ɑː n i / ; Italian: [ameˈdɛːo modiʎˈʎaːni] ; 12 July 1884 – 24 January 1920) was an Italian painter and sculptor of the École de Paris who worked mainly in France. He is known for portraits and nudes in

2300-462: Is in Venice that he first smoked hashish and, rather than studying, began to spend time frequenting disreputable parts of the city. The impact of these lifestyle choices upon his developing artistic style is open to conjecture, although these choices do seem to be more than simple teenage rebellion , or the clichéd hedonism and bohemianism that was almost expected of artists of the time; his pursuit of

2400-477: Is the subject of considerable speculation. From the time of his arrival in Paris, Modigliani consciously crafted a charade persona for himself and cultivated his reputation as a hopeless drunk and voracious drug user. His escalating intake of drugs and alcohol may have been a means by which Modigliani masked his tuberculosis from his acquaintances, few of whom knew of his condition. Tuberculosis—the leading cause of death in France by 1900 —was highly communicable, there

2500-522: The Grand Palais , the first Salon d'Automne was held in the poorly lit, humid basement of the Petit Palais . It was backed financially by Jansen. While Rodin applauded the endeavor, and submitted drawings, he refused to join doubting it would succeed. Notwithstanding, the first Salon d'Automne , which included works by Matisse, Bonnard and other progressive artists, was unexpectedly successful, and

2600-549: The Académie Colarossi , and drank wine in moderation. At that time, he was considered, by those who knew him, to be a bit reserved, verging on the asocial, and is noted to have commented, upon meeting Picasso , who at the time was wearing his trademark workmen's clothes, that even though the man was a genius, that did not excuse his uncouth appearance. Within a year of arriving in Paris, however, his demeanour and reputation had changed dramatically. He transformed himself from

2700-726: The Chambre des députés (and was debated at the Assemblée Nationale in Paris). In his 1921 essay on the Salon d'Automne, published in Les Echos (p. 23), founder Frantz Jourdain denouncing aesthetic snobbery, writes that the saber-rattling revolutionaries dubbed the Cubists , Futurists and Dadaists were actually crusty reactionaries who scorned modern progress and revealed contempt for democracy, science, industry and commerce. For Jourdain,

2800-845: The Salon d'Automne of 1912, by 1914 he abandoned sculpting and focused solely on his painting, a move precipitated by the difficulty in acquiring sculptural materials due to the outbreak of war , and by Modigliani's physical debilitation. In June 2010 Modigliani's Tête , a limestone carving of a woman's head, became the third most expensive sculpture ever sold . Modigliani painted a series 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 Jean Cocteau , all sat for stylized renditions. Modigliani painted Soutine's portrait several times, when they lived together in

2900-448: The Salon des Indépendants , never forgave Jourdain for having founded a rival salon. What he had not predicted was a retaliation that threatened the future of the new salon. Carolus-Duran (president of the Société Nationale des Beaux-Arts) threatened to ban from his Société established artists who might consider exhibiting at the Salon d'Automne . Retaliating in defense of Jourdain, Eugène Carrière (a respected artistic figure) issued

3000-560: 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,

3100-517: The 'modern spirit' signified more than a preference for Cézanne over Gérome . Needed was a clear understanding of one's epoch, its needs, its beauty, its ambience, its essence. 1 October through 8 November 1912, in excess of 1,770 works were displayed at the 10th Salon d'Automne. Paul Gallimard organized the exhibition of 52 books. The poster for the 1912 show was made by Pierre Bonnard . Sessions of chamber music took place every Friday. Morning literary sessions were held every Wednesday. The cost of

Modigliani - Misplaced Pages Continue

3200-493: The 1903 inaugural exhibition, three other dates remain historically significant for the Salon d'Automne : 1905 bore witness to the birth of Fauvism ; 1910 witnessed the launch of Cubism ; and 1912 resulted in a xenophobic and anti-modernist quarrel in the National Assembly (France) . The aim of the salon was to encourage the development of the fine arts , to serve as an outlet for young artists (of all nationalities), and

3300-619: The 1904 Salon d'Automne was dedicated to Paul Cézanne , with thirty-one works, including various portraits, self-portraits, still lifes, flowers, landscapes and bathers (many from the collection of Ambroise Vollard , including photographs taken by the artist, exhibited in the photography section). Another room presented works of Puvis de Chavannes , with 44 works. And another was dedicated to Odilon Redon with 64 works, including paintings, drawings and lithographs. Auguste Renoir and Henri de Toulouse-Lautrec too were represented in separate rooms with 35 and 28 works respectively. After viewing

3400-788: The 1904 Salon d'Automne, held at the Grand Palais 15 October to 15 November, Jean Metzinger , exhibited three paintings entitled Marine (Le Croisic), Marine (Arromanches), Marine (Houlgate) (no. 907-909); Robert Delaunay , 19 years of age, exhibited his Panneau décoratif (l'été) (no. 352 of the catalogue). Albert Gleizes exhibited two paintings, Vieux moulin à Montons-Villiers (Picardie 1902) and Le matin à Courbevoie (1904) , (no. 536, 537). Henri Matisse presented fourteen works (607-620). Kees van Dongen presented two works, Jacques Villon , three paintings, Francis Picabia three, Othon Friesz four, Albert Marquet seven, Jean Puy five, Georges Rouault eight paintings, Maufra ten, Manguin five, Vallotton three, and Valtat three. A room at

3500-504: The Bld de Montparnasse, where he is working on his ambitious allegorical painting entitled L'Abondance . "In this painting" writes Brooke, "the simplification of the representational form gives way to a new complexity in which foreground and background are united and the subject of the painting obscured by a network of interlocking geometrical elements". This exhibition preceded the 1911 Salon des Indépendants which officially introduced "Cubism" to

3600-519: 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. Known as Modì (which plays on 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. Women came and went until Beatrice Hastings entered his life. She stayed with him for almost two years,

3700-501: The Cubist exhibition, and as in the 1905 Salon d'Automne, the critic Louis Vauxcelles (in Les Arts..., 1912) was most implicated in the deliberations. It was also Vauxcelles who, on the occasion of the 1910 Salon des Indépendants, wrote disparagingly of 'pallid cubes' with reference to the paintings of Metzinger, Gleizes, Le Fauconnier, Léger and Delaunay. On 3 December 1912 the polemic reached

3800-558: The Indépendants." He writes: "The painters were the first to be surprised by the storms they had let loose without intending to, merely because they had hung on the wooden bars that run along the walls of the Cours-la-Reine, certain paintings that had been made with great care, with passionate conviction, but also in a state of great anxiety." It was from that moment on that the word Cubism began to be widely used. [...] Never had

3900-742: The Palais des Beaux-Arts de la Ville de Paris ( Petit Palais des Champs-Élysées ) in Paris. Included in the show were the works of Pierre Bonnard , Coup de vent , Le magasin de nouveautés , Étude de jeune femme (no. 62, 63 and 64); Albert Gleizes , A l'ombre (l'Ile fleurie) , Le soir aux environs de Paris (no. 252, 253); Henri Matisse , Dévideuse picarde (intérieur) , Tulipes (386, 387), along with paintings by Francis Picabia , Jacques Villon , Édouard Vuillard , Félix Vallotton , Maxime Maufra , Henri Manguin , Armand Guillaumin , Henri Lebasque , Gustave Loiseau , Albert Marquet , Eugene Chigot with an homage to Paul Gauguin who died May 8, 1903. At

4000-700: The Salon d'Automne of 1912, with La Maison Cubiste , the collaborative effort of the designer André Mare , Raymond Duchamp-Villon and other artists associated with the Section d'Or . Henri Matisse exhibited La Danse at the Salon d'Automne of 1910. In Room 7 and 8 of the 1911 Salon d'Automne, held 1 October through November 8, at the Grand Palais in Paris, hung works by Metzinger ( Le goûter (Tea Time) ), Henri Le Fauconnier , Fernand Léger , Albert Gleizes , Roger de La Fresnaye , André Lhote , Jacques Villon , Marcel Duchamp , František Kupka , Alexander Archipenko , Joseph Csaky and Francis Picabia . The result

4100-500: The Salon d'Automne where the Cubists, among whom were several non-French citizens, exhibited their works. The resistance to both foreigners and avant-garde art was part of a more profound crisis: that of defining modern French art in the wake of Impressionism centered in Paris. Placed into question was the modern ideology elaborated upon since the late 19th century. What had begun as a question of aesthetics quickly turned political during

Modigliani - Misplaced Pages Continue

4200-459: The Salon des Indépendants in the spring of 1905. Two large retrospectives occupied adjacent rooms at the 1905 Salon d'Automne: one of Jean-Auguste-Dominique Ingres and the other Édouard Manet . Despite the reputation for the contrary, the Salon d'Automne in 1905 was rather well received by the press, including critical praise for the Ingres and Manet retrospectives. The artists exhibiting were for

4300-590: The Salon des Indépendants of that same year, 1910, without a label being fixed on them. Consequently, although much effort has been put into proving the opposite, the word Cubism was not at that time current. (Albert Gleizes, 1925) In a review of the Salon, the poet Roger Allard (1885-1961) announces the appearance of a new school of French painters concentrating their attention on form rather than on color. A group forms that includes Gleizes, Metzinger, Delaunay (a friend and associate of Metzinger), and Fernand Léger. They meet regularly at Henri le Fauconnier's studio near

4400-408: The Salon's early years, established artists such as Pierre-Auguste Renoir threw their support behind the new exhibition and even Auguste Rodin displayed several works. Since its inception, works by artists such as Paul Cézanne , Henri Matisse , Paul Gauguin , Georges Rouault , André Derain , Albert Marquet , Jean Metzinger , Albert Gleizes and Marcel Duchamp have been shown. In addition to

4500-757: The Société Nationale des Beaux-Arts, the Société des Artistes Français , and the École des Beaux-Arts (Paris), recognized as the foremost school of art. In addition to his role as an influential art critic prior to the creation of the Salon d'Automne , Jourdain was a member of the Decorative Arts jury at the Chicago World's Fair (1893) , the Brussels International (1897) and the Paris Exposition Universelle (1900) . Jourdain clearly outlined

4600-521: The age of 35, in Paris. 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, Eugénie Garsin, born and raised in Marseille ,

4700-631: The artist's final years, helping him financially, and also organizing his show in Paris in 1917. The several dozen nudes Modigliani painted between 1916 and 1919 constitute many of his best-known works. This series of nudes was commissioned by Modigliani's dealer and friend Léopold Zborowski, who lent the artist use of his apartment, supplied models and painting materials, and paid him between fifteen and twenty francs each day for his work. The paintings from this arrangement were thus different from his previous depictions of friends and lovers in that they were funded by Zborowski either for his own collection, as

4800-500: The belief that the only route to true creativity was through defiance and disorder. Letters that he wrote from his 'sabbatical' in Capri in 1901 clearly indicate that he is being more and more influenced by the thinking of Nietzsche. In these letters, he advised friend Oscar Ghiglia; (hold sacred all) which can exalt and excite your intelligence... (and) ... seek to provoke ... and to perpetuate ... these fertile stimuli, because they can push

4900-443: The boldly colored canvases of Henri Matisse , André Derain , Albert Marquet , Maurice de Vlaminck , Kees van Dongen , Charles Camoin , and Jean Puy at the Salon d'Automne of 1905, the critic Louis Vauxcelles disparaged the painters as " fauves " (wild beasts), thus giving their movement the name by which it became known, Fauvism . Vauxcelles described their work with the phrase " Donatello chez les fauves" ("Donatello among

5000-488: The bourgeois stylings of the academic genre painters. While sympathetically connected to (and actually pre-dating) the French Impressionists , the Macchiaioli did not make the same impact upon international art culture as did the contemporaries and followers of Monet , and are today largely forgotten outside Italy. Modigliani's connection with the movement was through Guglielmo Micheli, his first art teacher. Micheli

5100-541: The catalogue). Matisse exhibited his Liseuse , two still lifes ( Tapis rouge and à la statuette ), flowers and a landscape (no. 1171-1175) Robert Antoine Pinchon showed his Prairies inondées ( Saint-Étienne-du-Rouvray , près de Rouen ) (no. 1367), now at the Musée de Louviers . Pinchon's paintings of this period are closely related to the Post-Impressionist and Fauvist styles, with golden yellows, incandescent blues,

SECTION 50

#1733085898901

5200-484: The convoluted letters that he regularly sent, and which survive today. Dear friend, I write to pour myself out to you and to affirm myself to myself. I am the prey of great powers that surge forth and then disintegrate ... A bourgeois told me today–insulted me–that I or at least 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... In 1906, Modigliani moved to Paris, then

5300-507: The course of time. Once launched at the 1910 Salon d'Automne, the new movement would rapidly spread throughout Paris. Convinced that exposure to the work of German designers would prompt healthy competition in the decorative arts, Frantz Jourdain invited artists, architects, designers, and industrialists from the Munich-based Deutscher Werkbund to exhibit at the 1910 salon. "Our art menaced by Bavarian decorators" read

5400-409: The critics been so violent as they were at that time. From which it became clear that these paintings - and I specify the names of the painters who were, alone, the reluctant causes of all this frenzy: Jean Metzinger, Le Fauconnier, Fernand Léger, Robert Delaunay and myself - appeared as a threat to an order that everyone thought had been established forever. In nearly all the papers, all composure

5500-433: The dangers of following the academic path in his review of the 1889 Exposition, while pointing out the potentials in the art of engineers, aesthetics, the fusion with decorative arts and the need for social reform. He soon became well known as a staunch critic of traditionalism and a fervent proponent of Modernism , yet even for him, the Cubists had gone too far. The first Salon d'Autumne exhibition opened 31 October 1903 at

5600-467: 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 Eugénie went into labour; the family protected their most valuable assets by piling them on top of her. Modigliani had a close relationship with his mother, who taught him at home until he

5700-432: The epitome of the tragic artist, creating a posthumous legend almost as well known as that of Vincent van Gogh . During the 1920s, in the wake of Modigliani's career and spurred on by comments by André Salmon crediting hashish and absinthe with the genesis of Modigliani's style, many hopefuls tried to emulate his "success" by embarking on a path of substance abuse and bohemian excess. Salmon claimed that whereas Modigliani

5800-423: The exhibition of 1907, held from 1 to 22 October, hung a painting by Georges Braque entitled Rochers rouges (no. 195 of the catalogue). Though this painting remains difficult to identify, it may be La Ciotat ( The Cove ). Jean Metzinger exhibited two landscapes (no. 1270 and 1271), also difficult to identify. At this 1907 salon the drawings of Auguste Rodin were featured. There were also retrospectives of

5900-451: The exhibition of 1908 at the Grand Palais des Champs-Élysées Matisse exhibited 30 works. At the 1909 exhibition (1 October through 8 November), Henri le Fauconnier exhibited a proto-Cubist portrait of the French writer, novelist and poet Pierre Jean Jouve , drawing the attention of Albert Gleizes who had been working in a similar geometric style. Constantin Brâncuși exhibited alongside Metzinger, Le Fauconnier and Fernand Léger . At

6000-479: The exhibition of 1910, held from 1 October to 8 November at the Grand Palais des Champs-Élysées, Paris, Jean Metzinger introduced an extreme form of what would soon be labeled 'Cubism', not just to the general public for the first time, but to other artists that had no contact with Picasso or Braque. Though others were already working in a proto-Cubist vein with complex Cézannian geometries and unconventional perspectives, Metzinger's Nu à la cheminée (Nude) represented

6100-632: The exhibition. Following this salon Metzinger wrote the article Notes sur la peinture , in which he compares the similarities in the works Picasso, Braque, Delaunay, Gleizes and Le Fauconnier. In doing so he enunciated for the first time what would become known as the characteristics of Cubism : notably the notions of simultaneity, mobile perspective. In this seminal text Metzinger stressed the distance between their works and traditional perspective. These artists, he wrote, granted themselves 'the liberty of moving around objects', and combining many different views in one image, each recording varying experiences over

SECTION 60

#1733085898901

6200-437: The face of the public", wrote the critic Camille Mauclair (1872–1945)—but also some favorable attention. One of the paintings singled out for attack was Matisse's Woman with a Hat . This work's purchase by Gertrude and Leo Stein had a very positive effect on Matisse, who had been demoralized from the bad reception of his work. Matisse's Neo-Impressionist landscape, Luxe, Calme et Volupté , had already been exhibited at

6300-440: The fact that Modigliani was so taken by this text in his early teens gives a good indication of his developing tastes. Baudelaire and D'Annunzio similarly appealed to the young artist, with their interest in corrupted beauty, and the expression of that insight through Symbolist imagery. Modigliani wrote to Ghiglia extensively from Capri, where his mother had taken him to assist in his recovery from tuberculosis. These letters are

6400-458: 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. Amedeo Modigliani was the fourth child, whose birth coincided with

6500-509: The first serious love of his life, Russian poet Anna Akhmatova , in 1910, when he was 26. They had studios in the same building, and although 21-year-old Anna had recently married, they began an affair. Anna was tall with dark hair, pale skin and grey-green eyes: she embodied Modigliani's aesthetic ideal and the pair became engrossed in each other. After a year, however, Anna returned to her husband. In 1909, Modigliani returned home to Livorno, sickly and tired from his wild lifestyle. But soon he

6600-426: The focal point of the avant-garde . In fact, his arrival at the centre of artistic experimentation 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 , with whom he aimed to set up a studio or Temple of Beauty to be enjoyed by all. Modigliani himself intended to create the drawings and paintings of

6700-455: The greatest heights of personal expression." Carter continues: It was at the Salon d'Automne, amid the Rhythmists, I found the desired sensation. The exuberant eagerness and vitality of their region, consisting of two rooms remotely situated, was a complete contrast to the morgue I was compelled to pass through in order to reach it. Though marked by extremes, it was clearly the starting point of

6800-408: The headline of the journal Le Radical (12 May 1910). This scandal, in addition to the non-French status of the authors in a time of growing nationalism, aroused the old polemic of exhibiting low-cost production objects, mass-produced items, simply designed furniture and interior decoration, in the context of a salon dedicated to art. Industrial art had never before been so controversial. The exhibition

6900-430: The honorary committee. For Frantz Jourdain , public exhibitions served an important social function by providing a forum for unknown, innovative, emerging ( éminents ) artists, and for providing a basis for the general public's understanding of the new art. This was the idea behind Jourdain's dream of opening a new "Salon des Refusés" in the late 1890s, and realized in the opening the Salon d'Automne in 1903. Providing

7000-503: The influence such would have on the art that would follow; the Fauves ( André Derain , Henri Matisse ); followed by the proto-Cubists ( Georges Braque , Jean Metzinger , Albert Gleizes , Henri Le Fauconnier , Fernand Léger and Robert Delaunay ); the Cubists , the Orphists , and Futurists . In his defense of artistic liberty, Jourdain attacked not individuals, but institutions, such as

7100-505: The intelligence to its maximum creative power. 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 to the extent that he learnt it by heart. The poetry of Lautréamont is characterized by the juxtaposition of fantastical elements, and by sadistic imagery;

7200-542: The last was where he displayed his greatest talent, and apparently this was not an entirely academic pursuit for the teenager: when not painting nudes, he was occupied with seducing the household maid. Despite his rejection of the Macchiaioli approach, Modigliani nonetheless found favour with his teacher, who referred to him as "Superman", a pet name reflecting the fact that Modigliani was not only quite adept at his art, but also that he regularly quoted from Nietzsche's Thus Spoke Zarathustra . Fattori himself would often visit

7300-532: 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 have been Llewelyn Lloyd , Giulio Cesare Vinzio , Manlio Martinelli , Gino Romiti , Renato Natali , and Oscar Ghiglia . Here his earliest formal artistic instruction took place in an atmosphere steeped in

7400-673: The most part known, even the most innovative who a few months before exhibited at the Berthe Weill Gallery. However, a few critics reacted violently, both in the daily press aimed at a wide audience; and in the specialized press, some of whom were active advocates of symbolism, and vehemently detested the rise of the new generation. The exhibition of 1906 was held from 6 October to 15 November. Jean Metzinger exhibited his Fauvist/ Divisionist Portrait of M. Robert Delaunay (no. 1191) and Robert Delaunay exhibited his painting L'homme à la tulipe (Portrait of M. Jean Metzinger) (no. 420 of

7500-506: The prestigious Grand Palais the following year. The success of the Salon d'Automne was not, however, due to such controversy. Success was due to the tremendous impact of its exhibitions on both the art world and the general public, extending from 1903 to the outset of the First World War . Each successive exhibition denoted a significant phase in the development of modern art: Beginning with retrospectives of Gauguin, Cézanne and others;

7600-619: The public as an organized group movement. Metzinger had been close to Picasso and Braque, working at this time along similar lines. Metzinger, Henri Le Fauconnier and Fernand Léger exhibited coincidentally in Room VIII. This was the moment in which the Montparnasse group quickly grew to include Roger de La Fresnaye , Alexander Archipenko and Joseph Csaky . The three Duchamp brothers, Marcel Duchamp , Jacques Villon and Raymond Duchamp-Villon , and another artist known as Picabia took part in

7700-427: The seedier side of life appears to have roots in his appreciation of radical philosophies, including those of Nietzsche . Having been exposed to erudite philosophical literature as a young boy under the tutelage of Isaco Garsin, his maternal grandfather, he continued to read and be influenced through his art studies by the writings of Nietzsche, Baudelaire , Carducci , Comte de Lautréamont , and others, and developed

7800-407: The spring. The Salon d'Automne is distinguished by its multidisciplinary approach, open to paintings, sculptures, photographs (from 1904), drawings, engravings, applied arts, and the clarity of its layout, more or less per school. Foreign artists are particularly well represented. The Salon d'Automne also boasts the presence of a politician and patron of the arts, Olivier Sainsère as a member of

7900-575: The stone caryatids for 'The Pillars of Tenderness' which would support the imagined temple. Modigliani squatted in the Bateau-Lavoir , a commune for penniless artists in Montmartre , renting himself a studio in Rue Caulaincourt. Even though this artists' quarter of Montmartre was characterized by generalized poverty, Modigliani himself presented—initially, at least—as one would expect the son of

8000-457: The studio had become almost a sacrificial effigy for all that he resented about the academic art that had marked his life and his training up to that point. Not only did he remove all the trappings of his bourgeois heritage from his studio, but he also set about destroying practically all of his own early work, which he described as "Childish baubles, done when I was a dirty bourgeois". The motivation for this violent rejection of his earlier self

8100-594: The studio, and approved of the young artist's innovations. In 1902, Modigliani continued what was to be a lifelong infatuation 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 suffering from tuberculosis, he moved to Venice, where he registered to study at the Regia Accademia ed Istituto di Belle Arti . It

8200-563: The title Modigliani . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Modigliani&oldid=1240487651 " Categories : Disambiguation pages Disambiguation pages with surname-holder lists Surnames of Italian origin Surnames of Jewish origin Hidden categories: Pages with Italian IPA Short description

8300-526: The viewers saw first hand, and many for the first time, what had been done abroad, opened up a potential of what could be done in the field of decorative arts at home. Jourdain had successfully staged the German show to provoke French designers into improving the quality of their own work. The effects would be felt in Paris, first with the 1912 exhibition of French decorative arts at the Pavillon de Marsan , then again at

8400-626: The wild beasts"), contrasting the "orgy of pure tones" with a Renaissance -style sculpture that shared the room with them. Henri Rousseau was not a Fauve, but his large jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited near Matisse's work and may have had an influence on the pejorative used. Vauxcelles' comment was printed on 17 October 1905 in Gil Blas , a daily newspaper, and passed into popular usage. The pictures gained considerable condemnation—"A pot of paint has been flung in

8500-452: The work of Domenico Morelli , a painter of dramatic religious and literary scenes. Morelli had served as an inspiration for a group of iconoclasts who were known by the title "the Macchiaioli " (from macchia  —"dash of colour", or, more derogatively, "stain"), and Modigliani had already been exposed to the influences of the Macchiaioli. This localized landscape movement reacted against

8600-764: The works of Berthe Morisot (174 works) and Jean-Baptiste Carpeaux (149 works), and a Paul Cézanne retrospective exhibition which included 56 works as a tribute to the painter who died in 1906. Apollinaire referred to Matisse as the "fauve of fauves". Works by both Derain and Matisse are criticized for the ugliness of their models. Braque and Le Fauconnier are considered as Fauves by the critic Michel Puy (brother of Jean Puy ). Robert Delaunay showed one work, Bela Czobel showed one work André Lhote showed three, Patrick Henry Bruce three, Jean Crotti one, Fernand Léger five, Duchamp-Villon two, Raoul Dufy three, André Derain exhibited three paintings and Matisse seven works. For

8700-519: 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

8800-593: Was a member of an Italian Jewish 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 (12,141 ha) of timberland

8900-484: Was a public scandal which brought Cubism to the attention of the general public for the second time. The first was the organized group showing by Cubists in Salle 41 of the 1911 Salon des Indépendants . In room 41 hung the work of Gleizes, Metzinger, Léger, Delaunay, Le Fauconnier and Archipenko. Articles in the press could be found in Gil Blas , Comoedia , Excelsior , Action , L'Œuvre , Cri de Paris . Apollinaire wrote

9000-516: Was a totally pedestrian artist when sober, "...from the day that he abandoned himself to certain forms of debauchery, an unexpected light came upon him, transforming his art. From that day on, he became one who must be counted among the masters of living art." Some art historians suggest that it is entirely possible that Modigliani would have achieved even greater artistic heights had he not been immured in, and destroyed by, his own self-indulgences. During his early years in Paris, Modigliani worked at

9100-469: Was back in Paris, this time renting a studio in Montparnasse . He originally saw himself as a sculptor rather than a painter, and was encouraged to continue after Paul Guillaume , an ambitious young art dealer, took an 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

9200-592: Was descended from an intellectual, scholarly family of Sephardic ancestry that for generations had lived along the Mediterranean coastline. Fluent in many languages, her ancestors were authorities on sacred Jewish texts and had founded a school of Talmudic studies. Family legend traced the family lineage to the 17th-century Dutch philosopher Baruch Spinoza . The family business was money lending , with branches in Livorno, Marseille, Tunis, and London, though their fortunes ebbed and flowed. Modigliani's father, Flaminio,

9300-443: 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, he devoted himself mainly to sculpture. His main subjects were portraits and full figures, both in the images and in the sculptures. Modigliani had little success while alive but after his death achieved great popularity. He died of tubercular meningitis , at

9400-462: Was lost. The critics would begin by saying: there is no need to devote much space to the Cubists, who are utterly without importance and then they furiously gave them seven columns out of the ten that were taken up, at that time, by the Salon. (Gleizes, 1925) Reviewing the Salon d'Automne of 1911, Huntly Carter in The New Age writes that "art is not an accessory to life; it is life itself carried to

9500-434: Was met with wide critical acclaim. Jourdain, familiar with the multifaceted world of art, predicted accurately the triumph would arouse animosity: from artist who resented the accent on Gauguin and Cézanne (both perceived as retrogressive), from academics who resisted attention given to the decorative arts, and soon, from the Cubists, who suspected the jurors favoring of Fauvism at their expense. Even Paul Signac , president of

9600-437: Was no cure, and those who had it were feared, ostracized, and pitied. Modigliani thrived on camaraderie and would not let himself be isolated as an invalid; he used drink and drugs as palliatives to ease his physical pain, helping him to maintain a façade of vitality and allowing him to continue to create his art. Modigliani's use of drink and drugs intensified from about 1914 onward. After years of remission and recurrence, this

9700-452: Was not only a Macchiaiolo himself, but had been a pupil of the famous Giovanni Fattori , a founder of the movement. Micheli's work, however, was so fashionable and the genre so commonplace that the young Modigliani reacted against it, preferring to ignore the obsession with landscape that, as with French Impressionism, characterized the movement. Micheli also tried to encourage his pupils to paint en plein air , but Modigliani never really got

9800-408: Was reviewed in all the major journals. Louis Vauxcelles added to the crisis in a Gil Blas article. The exhibition was an enormous success in that it served to catalyze anew designers, decorators, artists and architects in France, who prior to the 1910 Salon d'Automne had been lagging behind in the design sector. It also catalyzed public opinion, formerly interested solely in paintings. The fact that

9900-531: Was the period during which the symptoms of his tuberculosis worsened, signaling that the disease had reached an advanced stage. He sought the company of artists such as Utrillo and Soutine , seeking acceptance and validation for his work from his colleagues. Modigliani's behavior stood out even 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. He died in Paris, aged 35. He became

10000-621: Was the subject of several of his portraits, including Madame Pompadour , and the object of much of his drunken wrath. When the British painter Nina Hamnett arrived in Montparnasse in 1914, on her first evening there the smiling man at the next table in the café introduced himself as "Modigliani, painter and Jew". They became great friends. In 1916, Modigliani befriended the Polish poet and art dealer Léopold Zborowski and his wife Anna. Zborowski became Modigliani's primary art dealer and friend during

#900099