{"id":960,"date":"2017-05-27T16:45:51","date_gmt":"2017-05-27T15:45:51","guid":{"rendered":"http:\/\/www.restellini.com\/amedeo-modigliani\/"},"modified":"2025-12-09T14:00:26","modified_gmt":"2025-12-09T13:00:26","slug":"amedeo-modigliani","status":"publish","type":"page","link":"https:\/\/www.restellini.com\/en\/amedeo-modigliani\/","title":{"rendered":"Amedeo Modigliani"},"content":{"rendered":"<div   class='avia-fullscreen-slider main_color   avia-builder-el-0  el_before_av_textblock  avia-builder-el-first  container_wrap fullsize'  >\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-3jjr7k-8b8db0b29aa361e5e4fd3efd33b4dd8c\">\n#top #wrap_all .avia-slideshow .av-slideshow-caption.av-3jjr7k-8b8db0b29aa361e5e4fd3efd33b4dd8c__0 .avia-caption-title{\nfont-size:50px;\n}\n#top .avia-slideshow .av-slideshow-caption.av-3jjr7k-8b8db0b29aa361e5e4fd3efd33b4dd8c__0 .avia-caption-content{\nfont-size:19px;\n}\n#top .avia-slideshow .av-slideshow-caption.av-3jjr7k-8b8db0b29aa361e5e4fd3efd33b4dd8c__0 .avia-caption-content p{\nfont-size:19px;\n}\n<\/style>\n<a href='#next-section' title='' class='scroll-down-link ' aria-hidden='true' data-av_icon='\ue877' data-av_iconfont='entypo-fontello'><\/a><div  class='avia-slideshow av-3jjr7k-8b8db0b29aa361e5e4fd3efd33b4dd8c avia-slideshow-extra_large av_fullscreen avia-slide-slider av-slideshow-ui av-slideshow-manual av-loop-once av-loop-manual-endless av-slider-scroll-down-active av-default-height-applied   avia-slideshow-1' data-slideshow-options=\"{&quot;animation&quot;:&quot;slide&quot;,&quot;autoplay&quot;:false,&quot;loop_autoplay&quot;:&quot;once&quot;,&quot;interval&quot;:5,&quot;loop_manual&quot;:&quot;manual-endless&quot;,&quot;autoplay_stopper&quot;:false,&quot;noNavigation&quot;:false,&quot;bg_slider&quot;:true,&quot;keep_padding&quot;:false,&quot;hoverpause&quot;:false,&quot;show_slide_delay&quot;:0,&quot;slide_height&quot;:&quot;100&quot;,&quot;image_attachment&quot;:&quot;&quot;}\"  itemprop=\"image\" itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/ImageObject\" ><ul class='avia-slideshow-inner ' style='padding-bottom: 166.85205784205%;'><li style='background-position:top left;' data-img-url='https:\/\/www.restellini.com\/wp-content\/uploads\/2015\/02\/modigliani-restellini-899x1500.jpg' class='avia-slideshow-slide av-3jjr7k-8b8db0b29aa361e5e4fd3efd33b4dd8c__0  av-single-slide slide-1 slide-odd'><div data-rel='slideshow-1' class='avia-slide-wrap '   ><div class='av-slideshow-caption av-3jjr7k-8b8db0b29aa361e5e4fd3efd33b4dd8c__0 caption_fullwidth caption_right'><div class=\"container caption_container\"><div class=\"slideshow_caption\"><div class=\"slideshow_inner_caption\"><div class=\"slideshow_align_caption\"><h2 class='avia-caption-title '  itemprop=\"name\" >MODIGLIANI RESTELLINI<\/h2><div class='avia-caption-content '  itemprop=\"description\" ><p><strong>The Artist and the Expert<\/strong><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/li><\/ul><\/div><\/div><div id='after_full_slider_1'  class='main_color av_default_container_wrap container_wrap fullsize'  ><div class='container av-section-cont-open' ><div class='template-page content  av-content-full alpha units'><div class='post-entry post-entry-type-page post-entry-960'><div class='entry-content-wrapper clearfix'>\n<section  class='av_textblock_section av-387wc8-a40d819988ce9be623249a83bdb66f48 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p>Marc Restellini is probably one of the greatest international experts on the painter Amedeo Modigliani. After years of research into the artist\u2019s work, Modigliani\u2019s \u0153uvre is the core of the preparation of a catalogue raisonn\u00e9 under the supervision of Marc Restellini. This new catalogue raisonn\u00e9 is based on innovative techniques and more than 600 scientific analyses. This space is dedicated to Modigliani\u2019s oeuvre and to the works carried out by the Institut Restellini as part of the Catalogue Raisonn\u00e9, which is devoted to him.<\/p>\n<\/div><\/section>\n<\/div><\/div><\/div><!-- close content main div --><\/div><\/div><div id='av_section_1'  class='avia-section av-b84kw-46045948fc3e589fda20003dd4ef58fb main_color avia-section-default avia-no-shadow  avia-builder-el-2  el_after_av_textblock  el_before_av_section  avia-bg-style-scroll container_wrap fullsize'  ><div class='container av-section-cont-open' ><div class='template-page content  av-content-full alpha units'><div class='post-entry post-entry-type-page post-entry-960'><div class='entry-content-wrapper clearfix'>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-2wnt68-ed64bf35a04e10e96aeaa0d932f4e6e6\">\n#top .av-special-heading.av-2wnt68-ed64bf35a04e10e96aeaa0d932f4e6e6{\npadding-bottom:10px;\n}\nbody .av-special-heading.av-2wnt68-ed64bf35a04e10e96aeaa0d932f4e6e6 .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-2wnt68-ed64bf35a04e10e96aeaa0d932f4e6e6 .av-subheading{\nfont-size:15px;\n}\n<\/style>\n<div  class='av-special-heading av-2wnt68-ed64bf35a04e10e96aeaa0d932f4e6e6 av-special-heading-h2 blockquote modern-quote  avia-builder-el-3  el_before_av_textblock  avia-builder-el-first '><h2 class='av-special-heading-tag'  itemprop=\"headline\"  >MODIGLIANI EXPERTISE<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div>\n<section  class='av_textblock_section av-2oujeg-5b2dac701046d1b1373f0a1b203acbba '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><p><strong>Marc Restellini: A Freelance Expert<\/strong><\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p>Most experts are gallery directors, or people associated in one way or another with the art market; for example, they receive a commission on the sale of an object. They are thus both judge and jury. Marc Restellini is independent of the art market, his fees being set on the basis of the technique of the work (oil on canvas, drawing with colour, or drawing without colour) and payable, whatever the findings of the expert report, before depositing the work, to the account of the Institut Restellini. Added to this are:<\/p>\n<ul>\n<li>a long-term familiarity with the major works of the artist (Netter Collection)<\/li>\n<li>direct access to the \u201cprimary\u201d archives, those of Roger Dutilleul, Paul Guillaume, Jonas Netter, among others<\/li>\n<li>a body of scientific (chemical) analyses of more or less half the painted oeuvre, with the masterpieces acting as a yardstick, and a reference for works recently come to notice, either contested or to be confirmed.<\/li>\n<\/ul>\n<p>Marc Restellini started to work on Modigliani in the late 1980s, and then from 1997 to January 2015, in collaboration with the Wildenstein Institute, as the author of the Catalogue Raisonn\u00e9 of the paintings and the drawings.<\/p>\n<p>During this work and the many different exhibitions he organized, both in Japan and in Europe, about the \u00c9cole de Paris, and more particularly about Modigliani, he proceeded to make systematic scientific and comparative analyses of the pictures which were then at his disposal. He relies on the corpus for his expert reports.<\/p>\n<\/div><\/section>\n<div  class='avia-button-wrap av-miyl80p4-0241cbc3cd22389496af89f7334a05d5-wrap avia-button-center  avia-builder-el-5  el_after_av_textblock  avia-builder-el-last '>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-miyl80p4-0241cbc3cd22389496af89f7334a05d5\">\n#top #wrap_all .avia-button.av-miyl80p4-0241cbc3cd22389496af89f7334a05d5{\nmargin:50px 0 25px 0;\n}\n<\/style>\n<a href='https:\/\/www.institut-restellini.com\/en\/submit-a-work-for-expertise\/'  class='avia-button av-miyl80p4-0241cbc3cd22389496af89f7334a05d5 av-link-btn avia-icon_select-no avia-size-x-large avia-position-center avia-color-theme-color'  ><span class='avia_iconbox_title' >Submit a Work for Expertise<\/span><\/a><\/div>\n<\/div><\/div><\/div><!-- close content main div --><\/div><\/div>\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-2mw0tk-25fbfa8e5ac52f68bcadee92fb3d9ecb\">\n.avia-section.av-2mw0tk-25fbfa8e5ac52f68bcadee92fb3d9ecb{\nbackground-color:#b24347;\nbackground-image:unset;\n}\n<\/style>\n<div id='av_section_2'  class='avia-section av-2mw0tk-25fbfa8e5ac52f68bcadee92fb3d9ecb main_color avia-section-default avia-no-shadow  avia-builder-el-6  el_after_av_section  el_before_av_heading  avia-bg-style-scroll container_wrap fullsize'  ><div class='container av-section-cont-open' ><div class='template-page content  av-content-full alpha units'><div class='post-entry post-entry-type-page post-entry-960'><div class='entry-content-wrapper clearfix'>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-2fxnpc-b8fb8eaf925359da6512403120e03cfe\">\n#top .av-special-heading.av-2fxnpc-b8fb8eaf925359da6512403120e03cfe{\npadding-bottom:10px;\n}\nbody .av-special-heading.av-2fxnpc-b8fb8eaf925359da6512403120e03cfe .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-2fxnpc-b8fb8eaf925359da6512403120e03cfe .av-subheading{\nfont-size:15px;\n}\n<\/style>\n<div  class='av-special-heading av-2fxnpc-b8fb8eaf925359da6512403120e03cfe av-special-heading-h2 blockquote modern-quote  avia-builder-el-7  el_before_av_textblock  avia-builder-el-first '><h2 class='av-special-heading-tag'  itemprop=\"headline\"  >MODIGLIANI\u2019S \u0152UVRE<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div>\n<section  class='av_textblock_section av-26k60g-2540d36de62c68eaf6d8e53fde5b6894 '   itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='avia_textblock'  itemprop=\"text\" ><div id=\"lipsum\">\n<p><strong>Huiles\u00a0<\/strong>: uniquement des portraits et des nus (sauf 4 paysages peints dans le Midi \u2013 plus pour essayer une autre mani\u00e8re que par go\u00fbt, essai vite abandonn\u00e9 \u2013 et peut-\u00eatre un paysage peint dans sa jeunesse). Aucune nature morte.<\/p>\n<p>Principalement portraits de femmes et d\u2019enfants (2\/3 de l\u2019\u0153uvre complet), 1\/3 de portraits d\u2019hommes.<\/p>\n<p><strong>O\u00d9 VOIR LES \u0152UVRES DE MODIGLIANI\u00a0:<\/strong><\/p>\n<p><span style=\"text-decoration: underline;\">En France<\/span> :<\/p>\n<ul>\n<li>\u00e0 Paris\u00a0: essentiellement au MNAM (Mus\u00e9e National d\u2019Art Moderne &#8211; Centre Georges Pompidou) et au Mus\u00e9e de l\u2019Orangerie (Collection Paul Guillaume);<\/li>\n<li>Villeneuve d\u2019Ascq, LaM (Lille M\u00e9tropole)\u00a0: collection Roger Dutilleul;<\/li>\n<li>mus\u00e9es de Troyes, Nancy, Rouen, Grenoble.<\/li>\n<\/ul>\n<p><span style=\"text-decoration: underline;\">Grands mus\u00e9es du monde (liste non exhaustive)<\/span> :<\/p>\n<ul>\n<li>Milan (Pinacoteca di Brera), Rome (Galleria Nazionale d\u2019Arte Moderna), Oslo (Nasjonalgalleriet), Berlin (Nationalgalerie) ;<\/li>\n<li>J\u00e9rusalem (Israel Museum) ;<\/li>\n<li>New York (Metropolitan Museum of Art, Museum of Modern Art), Chicago (Art Institute of Chicago), Dallas Museum of Art, Houston (Museum of Fine Arts),\u00a0Philadelphie (Barnes Foundation), New Orleans Museum of Art, Saint Louis Art Museum, Washington (Phillips Collection), Toledo Museum of Art\u2026 ;<\/li>\n<li>Buenos Aires (Museo Nacional de Bellas Artes) ;<\/li>\n<li>Melbourne (National Gallery of Victoria) ;<\/li>\n<li>Japon (New Otani Art Museum, Ohara Museum of Art, Osaka City Museum of Modern Art)&#8230;<\/li>\n<\/ul>\n<p>Au sujet de <strong>l&#8217;exposition <em>Modigliani, l\u2019\u0153il int\u00e9rieur<\/em><\/strong> au LaM de Villeneuve d&#8217;Ascq-Lille M\u00e9tropole (printemps 2016), rappelons que le catalogue fait \u00e9tat de :<\/p>\n<p>&#8211; 39 peintures (expos\u00e9es)<\/p>\n<p>&#8211; 49 dessins (expos\u00e9s)<\/p>\n<p>&#8211; 5 sculptures (expos\u00e9es)<\/p>\n<p>soit <strong>93 \u0153uvres de Modigliani<\/strong> au total (mais sans aucune \u0153uvre de l&#8217;immense collection Netter)<\/p>\n<p>Pour arriver aux 114 num\u00e9ros qui figurent au catalogue : compl\u00e9ment d&#8217;\u0153uvres de Soutine, Brancusi, Kisling, arts premiers, etc.<\/p>\n<p>\u00c0 titre de comparaison, la r\u00e9trospective <em>Modigliani, l&#8217;ange au visage grave, <\/em>organis\u00e9e par Marc Restellini au Mus\u00e9e du Luxembourg \u00e0 Paris en 2002-2003, montrait :<\/p>\n<p>&#8211; 102 peintures (expos\u00e9es)<\/p>\n<p>&#8211; 41 dessins (expos\u00e9s)<\/p>\n<p>&#8211; 1 sculpture<\/p>\n<p>soit <strong>144 \u0153uvres de Modigliani<\/strong> au total.<\/p>\n<p>Tous les tableaux ont fait l&#8217;objet d&#8217;analyses scientifiques syst\u00e9matiques.<\/p>\n<p>La qualit\u00e9 d&#8217;une exposition ne se mesure \u00e9videmment pas au nombre des \u0153uvres expos\u00e9es, mais cet exemple d\u00e9montre simplement que Marc Restellini dispose d&#8217;une tr\u00e8s importante base de donn\u00e9es scientifiques \u00e0 l&#8217;appui de ses expertises qui en font une autorit\u00e9 incontournable.<\/p>\n<\/div>\n<\/div><\/section>\n<\/div><\/div><\/div><!-- close content main div --><\/div><\/div><div id='after_section_2'  class='main_color av_default_container_wrap container_wrap fullsize'  ><div class='container av-section-cont-open' ><div class='template-page content  av-content-full alpha units'><div class='post-entry post-entry-type-page post-entry-960'><div class='entry-content-wrapper clearfix'><\/p>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-252pmo-b5f981f0a1ced380966c95b3757624a9\">\n#top .av-special-heading.av-252pmo-b5f981f0a1ced380966c95b3757624a9{\npadding-bottom:10px;\n}\nbody .av-special-heading.av-252pmo-b5f981f0a1ced380966c95b3757624a9 .av-special-heading-tag .heading-char{\nfont-size:25px;\n}\n.av-special-heading.av-252pmo-b5f981f0a1ced380966c95b3757624a9 .av-subheading{\nfont-size:15px;\n}\n<\/style>\n<div  class='av-special-heading av-252pmo-b5f981f0a1ced380966c95b3757624a9 av-special-heading-h2 blockquote modern-quote  avia-builder-el-9  el_after_av_section  el_before_av_one_third  avia-builder-el-first '><h2 class='av-special-heading-tag'  itemprop=\"headline\"  >AMEDEO MODIGLIANI: A LIFE, AN \u0152UVRE<\/h2><div class=\"special-heading-border\"><div class=\"special-heading-inner-border\"><\/div><\/div><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-1vpka8-a20abd25425f06d4d41c8f17b328fcfd\">\n.flex_column.av-1vpka8-a20abd25425f06d4d41c8f17b328fcfd{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-1vpka8-a20abd25425f06d4d41c8f17b328fcfd av_one_third  avia-builder-el-10  el_after_av_heading  el_before_av_two_third  first flex_column_div av-zero-column-padding  '     ><div  class='togglecontainer av-1t2s8w-c49b33d5e7f8854cac812eeec0e3fe0c  avia-builder-el-11  avia-builder-el-no-sibling  toggle_close_all' >\n<section class='av_toggle_section av-5h23s-2e9d2a8466aa8fd9ce5d48109b5cea12'  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div role=\"tablist\" class=\"single_toggle\" data-tags=\"{All} \"  ><p data-fake-id='#toggle-id-1' class='toggler   '  itemprop=\"headline\"  role='tab' tabindex='0' aria-controls='toggle-id-1'>Early years<span class=\"toggle_icon\"><span class=\"vert_icon\"><\/span><span class=\"hor_icon\"><\/span><\/span><\/p><div id='toggle-id-1' class='toggle_wrap  '  ><div class='toggle_content invers-color '  itemprop=\"text\" ><p>12 July 1884: birth of Amedeo Modigliani, 33 via Roma in Livorno, the fourth and last child of Flaminio Modigliani and Eug\u00e9nie Garsin, a Sephardic Jewish family.<\/p>\n<p>The year was marked by the family\u2019s bankruptcy.<\/p>\n<p>Powerful influence of his grandfather Isaac, a scholarly man (art, philosophy) until his death in 1894, and of his mother (education, travels and visits to museums).<\/p>\n<p>1895: serious pleurisy.<\/p>\n<\/div><\/div><\/div><\/section>\n<section class='av_toggle_section av-1crpzk-0942b26288d0186bd05f4872ec43119a'  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div role=\"tablist\" class=\"single_toggle\" data-tags=\"{All} \"  ><p data-fake-id='#toggle-id-2' class='toggler   '  itemprop=\"headline\"  role='tab' tabindex='0' aria-controls='toggle-id-2'>YOUTHFUL period: few works have been conserved; among them, few whose authenticity has been confirmed.<span class=\"toggle_icon\"><span class=\"vert_icon\"><\/span><span class=\"hor_icon\"><\/span><\/span><\/p><div id='toggle-id-2' class='toggle_wrap  '  ><div class='toggle_content invers-color '  itemprop=\"text\" ><p>August <strong>1898<\/strong>: attended drawing classes in the studio of the painter Guglielmo Micheli.<\/p>\n<p>Typhoid fever followed by pulmonary complications.<\/p>\n<p><strong>1899<\/strong>: devoted himself entirely to painting. In the Micheli studio, he struck up a friendship with Oscar Ghiglia.<\/p>\n<p><strong>1900<\/strong>: double pleurisy, first attacks of tuberculosis.<\/p>\n<p><strong>1901<\/strong>: a convalescent journey with his mother: Naples, Capri, Amalfi, Rome, Florence and Venice.<\/p>\n<p><strong>1902<\/strong>: stays in Rome, Florence (Scuola Libera di Nudo), Venice. Dreamt of going to live in Paris.<\/p>\n<p><strong>1903-04<\/strong>: in Venice, he enrolled in the Scuola Libera di Nudo.<\/p>\n<p><strong>1905<\/strong>: death of his uncle Am\u00e9d\u00e9e Garsin, who was a loyal financial supporter.<\/p>\n<p>Janvier <strong>1906<\/strong>: his mother helped him (financially) to make his way to Paris, where he arrived early in the year. He enrolled in the Acad\u00e9mie Colarossi, on Rue de la Grande Chaumi\u00e8re. Rented a studio near the Bateau-Lavoir, in the Maquis de Montmartre, rue Caulaincourt, where he met Picasso, Guillaume Apollinaire, Andr\u00e9 Derain, Diego Rivera, Max Jacob, Lipchitz\u2026<\/p>\n<\/div><\/div><\/div><\/section>\n<section class='av_toggle_section av-19gdow-c2214295de68ffdd981541866220da13'  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div role=\"tablist\" class=\"single_toggle\" data-tags=\"{All} \"  ><p data-fake-id='#toggle-id-3' class='toggler   '  itemprop=\"headline\"  role='tab' tabindex='0' aria-controls='toggle-id-3'>PAUL ALEXANDRE period:<span class=\"toggle_icon\"><span class=\"vert_icon\"><\/span><span class=\"hor_icon\"><\/span><\/span><\/p><div id='toggle-id-3' class='toggle_wrap  '  ><div class='toggle_content invers-color '  itemprop=\"text\" ><p><strong>1907<\/strong>: Modigliani moved houses frequently. Met Utrillo, Dr Paul Alexandre (founder of a group of artists on Rue du Delta, close to the Boulevard de Rochechouart: his first patron and collector of a large part of his output until 1914). Separated by the First World War, Modigliani died without ever seeing him again.<\/p>\n<p><strong>Interest in the primitive arts<\/strong> (Palais du Trocad\u00e9ro [Indochinese Museum and Ethnographic Museum of the Trocad\u00e9ro], Mus\u00e9e Guimet, section of Asiatic Arts in the Louvre), in <strong>Toulouse-Lautrec<\/strong> and in <strong>C\u00e9zanne<\/strong> (he paid a tribute to the painter at the 1907 Salon d\u2019Automne).<\/p>\n<p><strong>1908<\/strong>: exhibited five works at the Salon des Ind\u00e9pendants. Often to be found in Rue du Delta and with Paul Alexandre\u2019s artist friends (Doucet, Drouard\u2026)<\/p>\n<p><strong>1909<\/strong>: lived for a while at La Ruche and then in the Cit\u00e9 Falgui\u00e8re. Met Brancusi, who advised him to take up sculpture (direct carving).<\/p>\n<p>March-June: stayed in Livorno and worked in nearby Carrara for a few weeks.<\/p>\n<p>September <strong>1909<\/strong>: returned to Paris with the painting<em> Le Mendiant de Livourne [The Beggar of Livorno]<\/em>, acquired by Paul Alexandre. Was keen to carry on sculpting.<\/p>\n<p><strong>1910<\/strong>: exhibited six works at the Salon des Ind\u00e9pendants. Paul Alexandre was the only buyer. Life was miserable and he often moved homes.<\/p>\n<p>Until 1914, his thoughts were focused on his <em>Temple de la volupt\u00e9<\/em> project, a set of sculptures.<\/p>\n<p><strong>1911<\/strong>: showed a set of statues and drawings related to sculpture in the studio of the painter Amadeo de Souza Cardoso, on Rue du Colonel Combes.<\/p>\n<p><strong>1912<\/strong>: sculpted more than he painted, showing seven sculptures titled <em>Ensemble d\u00e9coratif<\/em>, at the Salon d\u2019Automne. Utterly destitute, he fell ill again. His friends urged him to return to Livorno.<\/p>\n<p><strong>1913<\/strong>: April-June in Livorno. Back in Paris, he started to work on the cycle of Caryatids (inspired drawings and studies for sculptures).<\/p>\n<\/div><\/div><\/div><\/section>\n<section class='av_toggle_section av-14ze60-fcc4318df0a2756f9f81b818ff7e6d5e'  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div role=\"tablist\" class=\"single_toggle\" data-tags=\"{All} \"  ><p data-fake-id='#toggle-id-4' class='toggler   '  itemprop=\"headline\"  role='tab' tabindex='0' aria-controls='toggle-id-4'>PAUL GUILLAUME period:<span class=\"toggle_icon\"><span class=\"vert_icon\"><\/span><span class=\"hor_icon\"><\/span><\/span><\/p><div id='toggle-id-4' class='toggle_wrap  '  ><div class='toggle_content invers-color '  itemprop=\"text\" ><p>1914: he decided to abandon carving (because of his frail health, plus being an art hard to execute and sell).<\/p>\n<p>Became acquainted with Paul Guillaume through Max Jacob. Guillaume became his dealer, until mid-1916: he rented him a studio at No. 13 Rue Ravignan, at the foot of the Bateau-Lavoir.<\/p>\n<p>July 1914: met Beatrice Hastings, an English journalist and poetess. Stormy affair for two years. Many portraits of his ladyfriend.<\/p>\n<p>2 August 1914: declaration of war. Modigliani was declared unfit for service (for health reasons).<\/p>\n<p>1915: many portraits including those of Paul Guillaume, Apollinaire, Max Jacob, Kisling, Henri Laurens, Beatrice Hastings\u2026 Thanks to Paul Guillaume, he managed to sell his pictures.<\/p>\n<p>1916: broke up with Beatrice Hastings.<\/p>\n<p><em>Lyre et Palette<\/em> exhibition in the studio of the Swiss painter Lejeune in Paris, an avant-garde hub.<\/p>\n<\/div><\/div><\/div><\/section>\n<section class='av_toggle_section av-v2p48-50f5204cbdf6c98e9d7bc64b3701c7b0'  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div role=\"tablist\" class=\"single_toggle\" data-tags=\"{All} \"  ><p data-fake-id='#toggle-id-5' class='toggler   '  itemprop=\"headline\"  role='tab' tabindex='0' aria-controls='toggle-id-5'>LEOPOLD ZBOROWSKI period:<span class=\"toggle_icon\"><span class=\"vert_icon\"><\/span><span class=\"hor_icon\"><\/span><\/span><\/p><div id='toggle-id-5' class='toggle_wrap  '  ><div class='toggle_content invers-color '  itemprop=\"text\" ><p>Mid-1916: met L\u00e9opold Zborowski, a Polish poet forced to stay in Paris by the war, who became his dealer.<\/p>\n<p>November or December 1916: met Jeanne H\u00e9buterne at the Acad\u00e9mie Colarossi where she was a student. She swiftly became his partner.<\/p>\n<p>1917: worked in Zborowski\u2019s home at No. 3 Rue Joseph Bara and handed over the work he produced in exchange for 15 francs a day. Favourite female models: Hanka Zborowska, L\u00e9opold Zborowski\u2019s wife, and her friend Lunia Czechowska. Soutine often went to visit him. Kisling lived at the same address.<\/p>\n<p>First series of nudes (professional models).<\/p>\n<p>July: set up home with Jeanne H\u00e9buterne at No.8 Rue de la Grande Chaumi\u00e8re.<\/p>\n<p>3 December: first solo exhibition at the Galerie Berthe Weill, No.50 Rue Taitbout. Public scandal, only two drawings were sold, plus five pictures bought by Berthe Weill.<\/p>\n<p>1918: second series of nudes.<\/p>\n<p>March: His health deteriorated. Zborowski decided to dispatch him to the French Riviera with Jeanne, who was pregnant, accompanied by her mother. On the south coast, they came upon a whole colony of artists fleeing the bombs falling on Paris (Big Bertha).<\/p>\n<p>Various addresses, Cagnes, and then Nice until May 1919.<\/p>\n<p>Southern\/ Midi light: a lighter palette, large formats and only four landscapes known to be by him. Also painted a lot of portraits (half- and full-length) of small, humble people from all kinds of social backgrounds.<\/p>\n<p>29 November: birth of little Jeanne, daughter of Jeanne H\u00e9buterne and \u201cfather unknown\u201d.<\/p>\n<p>1919: visited Renoir in Cagnes.<\/p>\n<p>31 May: returned to Paris.<\/p>\n<p>July: exhibition in London of French painters, including his own works (Zborowski).<\/p>\n<p>Undertook in writing to marry Jeanne.<\/p>\n<p>15 July: article by Carco in <em>L\u2019\u00c9ventail<\/em>, a Swiss periodical.<\/p>\n<p>His health worsened but he carried on painting those close to him.<\/p>\n<p>Took part in the exhibition <em>Modern French Art<\/em> in London.<\/p>\n<p>Salon d\u2019Automne: showed four paintings.<\/p>\n<p>1920: His health further worsened.<\/p>\n<p>Painted his self-portrait.<\/p>\n<p>23 January: taken unconscious to the H\u00f4pital de la Charit\u00e9.<\/p>\n<p>24 January: died in hospital of tubercular meningitis.<\/p>\n<p>26 January: Jeanne H\u00e9buterne, eight months pregnant, jumped to her death from the fifth floor of her parents\u2019 apartment, leaving her daughter Jeanne an orphan.<\/p>\n<p>27 January: Modigliani was buried at the P\u00e8re-Lachaise cemetery, attended by a cort\u00e8ge of many friends<\/p>\n<p>Jeanne was buried in secret in the Bagneux cemetery \u2013 their bodies were reunited ten years later at P\u00e8re-Lachaise.<\/p>\n<p>11-19 December 1920: retrospective show of his work at the Montaigne gallery<\/p>\n<p>1923: the American collector and philanthropist Albert C. Barnes arrived in Paris and bought more than a hundred Soutine works and ten by Modigliani from Zborowski.<\/p>\n<\/div><\/div><\/div><\/section>\n<\/div><\/div>\n\n<style type=\"text\/css\" data-created_by=\"avia_inline_auto\" id=\"style-css-av-2v6h4-b7923b361dc7b9682ec8ab9d9eab515c\">\n.flex_column.av-2v6h4-b7923b361dc7b9682ec8ab9d9eab515c{\nborder-radius:0px 0px 0px 0px;\npadding:0px 0px 0px 0px;\n}\n<\/style>\n<div  class='flex_column av-2v6h4-b7923b361dc7b9682ec8ab9d9eab515c av_two_third  avia-builder-el-12  el_after_av_one_third  avia-builder-el-last  flex_column_div av-zero-column-padding  '     ><div  class='tabcontainer av-nrwgw-ba532a414bd0ab05614edd123334023c top_tab  avia-builder-el-13  avia-builder-el-no-sibling ' role='tablist'>\n<section class='av_tab_section av_tab_section av-f0mxk-e35a1a114992aa144589e676d1791b6d'  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='tab active_tab' role='tab' tabindex='0' data-fake-id='#tab-id-1' aria-controls='tab-id-1-content'  itemprop=\"headline\" >MAJOR EXHIBITIONS HELD IN HIS LIFETIME<\/div><div id='tab-id-1-content' class='tab_content active_tab_content' aria-hidden=\"false\"><div class='tab_inner_content invers-color'  itemprop=\"text\" ><h1>1906<\/h1>\n<p>Paris, galerie d\u2019Art Laura Wylda<\/p>\n<h1>1907<\/h1>\n<p>Paris, Atelier d\u2019Amadeo de Souza Cardoso (sculptures and drawings)<\/p>\n<p>Paris, Grand Palais, <em>Salon d\u2019Automne,<\/em> 1 \u201322 October 1907 (1 oil and 6 drawings)<\/p>\n<h1>1908<\/h1>\n<p>Paris, Serres du Cours-la-Reine, <em>24th exhibition of the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants,<\/em> 20 March-2 May 1908 (6 paintings)<\/p>\n<h1>1910<\/h1>\n<p>Paris, Jardin des Tuileries, Serres de l\u2019Orangerie, <em>26th exhibition of the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants,<\/em> 25 March-2 May 1910 (6 paintings)<\/p>\n<h1>1911<\/h1>\n<p>Paris, Atelier d\u2019Amadeo de Souza Cardoso, opening on 5 March 1911 (7 sculptures)<\/p>\n<p>Paris, Quai d\u2019Orsay, Pont de l\u2019Alma, <em>27th exhibition of the Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants,<\/em> 21 April-13 June 1911 (5 drawings and 1 sculpture)<\/p>\n<h1>1912<\/h1>\n<p>Paris, Grand Palais, <em>Salon d\u2019Automne,<\/em> 1 October-8 November 1912 (7 sculptures, all titled \u201cT\u00eate, ensemble decorative\u201d)<\/p>\n<h1>1914<\/h1>\n<p>London, Whitechapel Art Gallery, <em>Twentieth Century Art: A Review of Modern Movements,<\/em> 8 May-20 June 1914 (1 sculpture and 1 drawing for a sculpture)<\/p>\n<h1>1916<\/h1>\n<p>New York, Modern Gallery, <em>Exhibition of Sculpture,<\/em> 8-22 March 1916 (2 sculptures)<\/p>\n<p>Paris, galerie Georges Bernheim, <em>Exposition de Tableaux,<\/em> Sculptures, Objets d\u2019Art, offered by the Artists, 10 May-1 June 1916<\/p>\n<p>Zurich (Switzerland), Cabaret Voltaire, June 1916 (2 drawings)<\/p>\n<p>Paris, Salon d\u2019Antin, <em>L\u2019Art moderne en France,<\/em> 16-31 July 1916 (3 works)<\/p>\n<p>Paris, Atelier \u00c9mile Lejeune, <em>Lyre et Palette, 1st exhibition, Kisling, Matisse, Modigliani, Ortiz de Zarate, Picasso, sculptures n\u00e8gres,<\/em> 19 November-5 December 1916 (14 oils + drawings)<\/p>\n<h1>1917<\/h1>\n<p>Paris, galerie Ch\u00e9ron, 1-20 May 1917<\/p>\n<p>\u25ba Paris, galerie Berthe Weill, <em>Exposition des Peintures et des dessins de Modigliani,<\/em> 3-30 December 1917 (32 works, mainly paintings)<\/p>\n<h1>1918<\/h1>\n<p>Paris, galerie Paul Guillaume, <em>Peintres d\u2019Aujourd\u2019hui,<\/em> 15-23 December 1918 (4 works)<\/p>\n<h1>1919<\/h1>\n<p>London, Mansard Gallery, <em>French Art 1914-1919,<\/em> 9 August-6 September 1919 (50 drawings and 9\u00a0oils)<\/p>\n<p>Paris, Grand Palais, <em>Salon d\u2019Automne,<\/em> 1 November-10 December 1919 (4 oils)<\/p>\n<h1>1920<\/h1>\n<p>Brussels, <em>Peintres fran\u00e7ais nouveaux,<\/em> 1920<\/p>\n<p>Brussels, Salle Eolian, <em>Ceux d\u2019aujourd\u2019hui,<\/em> 15-31 October 1920 (4 works)<\/p>\n<p>Paris, galerie Devambez, <em>Peinture moderne,<\/em> 27 January-12 February 1920 (13 oils)<\/p>\n<p>Paris, galerie Berthe Weill, <em>Centi\u00e8me exposition,<\/em> 14-28 February 1920<\/p>\n<p>Rome, Casa d\u2019Arte italiana, <em>Modigliani,<\/em> March 1920<\/p>\n<p>Paris, galerie d\u2019Art des \u00c9ditions G. Cr\u00e8s, <em>Nus,<\/em> 16 March-3 April 1920 (1 oil)<\/p>\n<p>Paris, galerie Manzi-Joyant, 17 June-4 July 1920: <em>La Jeune Peinture fran\u00e7aise<\/em> + retrospectives of Modigliani and H. Doucet: 15 oils, 13 drawings, 3 sculptures<\/p>\n<p>Paris, <em>retrospective show of Modigliani\u2019s works<\/em> at the Galerie Montaigne , 11-29 December 1920 (17 paintings and 15 drawings)<\/p>\n<\/div><\/div><\/section>\n<section class='av_tab_section av_tab_section av-93xiw-66826c92ef2a43e18fb099b17cb53397'  itemscope=\"itemscope\" itemtype=\"https:\/\/schema.org\/CreativeWork\" ><div class='tab' role='tab' tabindex='0' data-fake-id='#tab-id-2' aria-controls='tab-id-2-content'  itemprop=\"headline\" >MAJOR PUBLIC SALES DURING HIS LIFETIME (H.D. = H\u00d4TEL DROUOT AUCTION HOUSE)<\/div><div id='tab-id-2-content' class='tab_content' aria-hidden=\"true\"><div class='tab_inner_content invers-color'  itemprop=\"text\" ><p>For information:<\/p>\n<p>1 1919 franc = 1,32371 \u20ac in 2016<\/p>\n<p>1 1920 franc = 0,94882 \u20ac in 2016<\/p>\n<h1>1919<\/h1>\n<p>Paris, H.D., Eug\u00e8ne Descaves sale, 28 March 1919 (room 11):<\/p>\n<ul>\n<li>n\u00b0 60: <em>Portrait de femme<\/em> (580 F)<\/li>\n<li>n\u00b0 61: <em>Nu<\/em> (410 F)<\/li>\n<\/ul>\n<h1>1920<\/h1>\n<p>Paris, H.D., 6 March 1920 (room 10):<\/p>\n<ul>\n<li>n\u00b0 94: <em>Femme \u00e0 la fleur,<\/em> 55 x 33 cm (560 F)<\/li>\n<\/ul>\n<p>Paris, H.D., 19 April 1920 (room 7):<\/p>\n<ul>\n<li>n\u00b0 61: <em>R\u00eaverie,<\/em> drawing, 43 x 26<\/li>\n<\/ul>\n<p>Paris, H.D., Louis Libaude sale, 19 May 1920:<\/p>\n<ul>\n<li>n\u00b0 64: <em>Femme devant la chemin\u00e9e,<\/em> oil<\/li>\n<\/ul>\n<p>Thorkild Henningsen sale, Copenhagen, Dansk Kunsthandel, 20-21 May 1919:<\/p>\n<ul>\n<li>n\u00b0 22: Alice, oil on canvas<\/li>\n<\/ul>\n<p>L\u00e9on Z[amaron] sale, Paris, H.D., 9 June 1920 (room 11):<\/p>\n<ul>\n<li>n\u00b0 52: <em>T\u00eate de femme,<\/em> drawing, 0.35 x 0,26<\/li>\n<li>n\u00b0 53: <em>Portrait de Madame Cravan,<\/em> pencil drawing, 0.48 x 0,30<\/li>\n<li>n\u00b0 54: <em>T\u00eate de femme,<\/em> oil on canvas, 55 x 39<\/li>\n<li>n\u00b0 55: <em>Portrait d\u2019une jeune fille,<\/em> canvas, 0.96 x 0.50<\/li>\n<li>n\u00b0 56: <em>La Madone,<\/em> canvas, 96 x 60<\/li>\n<\/ul>\n<p>Paris, H.D., 21 June 1920 (room 10):<\/p>\n<ul>\n<li>n\u00b0 60: Portrait de femme, board, 42.5 x 47 (620 F)<\/li>\n<li>n\u00b0 61: Pierrot<\/li>\n<li>n\u00b0 62: Portrait d\u2019homme et de femme, pen drawing<\/li>\n<\/ul>\n<\/div><\/div><\/section>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v22.4 - 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