Head and Shoulders, Full Face with Necklace

by Amedeo Modigliani


Among the most striking testaments to the enduring popularity of Modigliani and his work is the extraordinary record of exhibitions in which he participated during his lifetime; it is a record that also underscores his international acclaim. In a span of only 12 years, from 1907 to 1919 – for all intents and purposes fundamentally all of Modigliani’s working life – he participated in a confirmed 18 exhibitions. These exhibitions which included on a number of occasions participation in the famed Salon d’Automne and the Salon des Indépendents as well as exhibitions abroad in London, Zurich and as far reaching as New York [1916, the Modern Gallery, satellite to Steiglitz’s famed gallery ‘291’] represent an astonishing affirmation for any artist.

MEDIUM: Black crayon on paper
DIMENSIONS: (unframed) 16.5 x 10 ins/ 41.9 x 25.4 cm
SIGNATURE: Signed and stamped (lower left)

Catalogue No: 6265 Categories: , Tags: , , ,

Amedeo Modigliani is universally acknowledged as one among the major artists of his generation. Equally skilled as a painter and sculptor, he stands apart from his distinguished contemporaries for his determined choice to strictly limit his subject matter to portraits, and, to caryatids and idol-like, carved heads directly inspired by Egyptian and ethnographic artifacts. In this context, he was and continues to be especially appreciated for his unique ability to achieve an extraordinary range of expression and psychological interpretation in the human face while at the same time maintaining the distinctive mannered elongations of forms that are the hallmark of his style.


Private Collection, UK, 2005;
Collection of Dr. Paul Alexandre, Paris (catalogue no. 115);
Collection of Noël Alexandre (by descent)

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Travels through Italy along with early formal training in Florence and Venice insured the already noteworthy young artist both a comprehensive understanding of the history of art and an exacting capability as a draftsman; each in turn intimately informs the underlying structural elegance and sophisticated tonalities of his corpus of work in its entirety.

It is well known that from January 1906 when he arrived in Paris, until his untimely death in 1920, Modigliani was an integral member of the circles of artists, poets, writers, musicians and collectors who were the driving force of the universally renowned early 20th century Parisian avant-garde. By autumn 1907, Modigliani had already met Dr. Paul Alexandre, the artist’s first and most devoted patron. They were to remain very close friends until 1919, when Alexandre was called to duty at the outset of World War I; Modigliani died in January of the following year.

In late 1908 or early 1909, Modigliani decided to move from his Montmartre Bateau-Lavoir studio to the culturally rich, multi-national artistic community of the Montparnasse section of Paris. In 1909, Paul Alexandre introduced Modigliani to Constantin Brancusi, a meeting that reignited Modigliani’s ambitions as a sculptor.

Brancusi’s influence upon Modigliani’s production in sculpture is unquestionable; equally important was the principled example of Brancusi, who retained his individuality and remained fiercely independent of being swept up in current avant-garde movements. Following Brancusi’s dictum, ‘Direct carving is the true path towards sculpture,’ Modigliani dedicated himself to working directly in stone, holding fast to the position that the only way to save sculpture, which he maintained had fallen prey to modeling, was to encourage carving. It was during this period as well that Modigliani began, with great finesse, to assimilate non-European sculptural traditions, African art being the most influential. Owing to ill-health, Modigliani produced relatively few sculptures – one of the greatest disappointments of his life. Approximately 25 carvings in stone are generally accepted to be by him: 23 heads, a standing figure, and a caryatid [c. 1913; New York, MoMA]. While it is impossible to establish an accurate chronology of these works, it is generally agreed that Modigliani concentrated on sculpture and related drawings between 1909 and 1914.

From 1914 to 1916, Modigliani turned again to painting, at that point represented by the dealer Paul Guillaume. It was in these few short years that Modigliani executed the many studies of his lovers, friends, and colleagues which are held to be among the finest portraits in early 20th-century art.

In 1918, when Modigliani’s health began to deteriorate, he went with his partner Jeanne to the south of France. Somewhat recovered, he returned to Paris the following year. However, on January 24, 1920, aggravated by drugs and alcohol, Modigliani succumbed to tubercular meningitis in a Paris hospital. The next day Jeanne took her life (along with that of their unborn child). She was ultimately laid to rest beside Modigliani at Père-Lachaise cemetery.

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