The Life with Modi Exhibit- Inspired by Amedeo Modigliani

Life with Modigliani Exhibit

Inspired by Amedeo Modigliani

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Art Museum Collection Series

Miniature Paintings within Paintings / People Viewing Art


Details; 14 x 11 inches Gallery wrapped linen canvas.
Miniature painting sizes range from smallest: 2.5 x 3.5 inches
Largest 3 x 4 inches.

This is the first 14 x 11 inch Museum Painting. I was able to do a lot more detail having a lrger space to work within. However, it took much longer to complete. I enjoyed every minute. I hope you will also.

Amedeo Modigliani

Much lauded in his lifetime for gracefully distorted portraits and luxuriant nudes, Italian born, Parisian-based artist/sculpture Amedeo Modigliani (1884-1920) was known to few outside of the artist community. His fascination with African masks and sculpture is apparent in his sitters’ faces – almond eyes and twisted features that are flat masklike, and elongated forms. The influences of Toulouse-Lautrec, Picasso, and Cezanne can be seen in Modigliani’s curved lines, planes, and spare composition. His paintings are strikingly idealized representations of feminine sexuality. Struggling with poverty, drinking and drug use, Modigliani died of tuberculosis at age 35.




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If you are interested in a personal Commission it can be one of my paintings that you saw and Please email me with your interests. There is never any obligation.


Registered Original Art © copyright 2008 MkM k. Madison Moore

Modi in Paris


In 1906 Modigliani moved to Paris, then 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 settled in Le 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 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, he sketched his nudes at the Académie Colarossi, and he drank wine in moderation. He was at that time considered by those who knew him as a bit reserved, verging on the asocial. He 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.

Transformation

Within a year of arriving in Paris, however, his demeanour and reputation had changed dramatically. He transformed himself from 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 behavior at this time sheds some light upon his developing style as an artist, in that 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. He explained this extraordinary course of actions to his astonished neighbours thus:
“ Childish baubles, done when I was a dirty bourgeois. ”


The motivation for this violent rejection of his earlier self is the subject of considerable speculation. The self-destructive tendencies may have stemmed from his tuberculosis and the knowledge (or presumption) that the disease had essentially marked him for an early death; within the artists' quarter, many faced the same sentence, and the typical response was to set about enjoying life while it lasted, principally by indulging in self-destructive actions. For Modigliani such behavior may have been a response to a lack of recognition; 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 became 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—erroneously—that whereas Modigliani 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. ”
While this propaganda served as a rallying cry to those with a romantic longing to be a tragic, doomed artist, these strategies did not produce unique artistic insights or techniques in those who did not already have them.
In fact, art historians suggest that it is entirely possible for Modigliani to have achieved even greater artistic heights had he not been immured in, and destroyed by, his own self-indulgences. We can only speculate what he might have accomplished had he emerged intact from his self-destructive explorations.

During his early years in Paris, Modigliani worked at 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 other artists.

He met 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 was recently married, they began an affair. Tall (Modigliani was only 5 foot 5 inches) with dark hair (like Modigliani's), 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.http://en.wikipedia.org/wiki/Amedeo_Modigliani

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