Exhibition catalogue: "Modigliani Up Close," edited by Barbara Buckley, Simonetta Fraquelli, Nancy Ireson, and Annette King (Barnes Foundation), in Hardcover, available via Amazon, Barnes & Noble and Indiebound. Exhibition: "Modigliani Up Close," at the Barnes Foundation, Philadelphia (through January 29). And while his career may have been fleeting, his legacy was anything but.Īltschul asked Buckley, "Is everything that's going to be looked at, looked at?" Modigliani died in 1920, from tuberculosis, at the age of 35. "Maybe he stole them under cover of the night, maybe he was paying for them. "The blocks that Modigliani was using to sculpt heads were very long, rectangular blocks." "You need to go back to his sculpture he was getting his blocks from construction sites in Paris," Kang replied. An installation view of the Barnes Foundation exhibit, "Modigliani Up Close."Īltschul asked, "When we think of Modigliani and his signature style, it's the faces, the long necks. Modigliani painted and sculpted, the latter practice lasting only a few years, but becoming consequential to his method. And so, this is why he was so dedicated to the figure." "Modigliani was interested in something else. "Picasso and Braque were developing Cubism, they were working with collage, they were really interested in interrogating pictorial structure," said Kang. But he didn't see all his contemporaries as inspiration. He was a member of the "School of Paris" – a group of artists living in the City of Light. In 1906 he moved to the center of the art world: Paris. "He's allowing some of the nuances of the color of the painting below to be integrated into the painting on the surface." "He's using them in really creative ways," Buckley said. She found Modigliani often incorporated those underdrawings into his finished pieces. "Young Woman in Blue (Giovane donna in azzurro)" by Amedeo Modigliani (1919). "One of the really fun things was looking at some of the early paintings where he was painting over canvases that had already been painted upon – sometimes his own canvases, sometimes canvases that had been painted on by a different artist," said chief conservator Barbara Buckley. Their findings are part of the exhibition "Modigliani Up Close." 
Less well known? The brains behind that brush.Īt the Barnes Foundation in Philadelphia, curators and conservators are using new technologies to unearth old secrets from beneath the canvas.
Narrow faces, haunting eyes, elongated necks … all well-known characteristics of an Amedeo Modigliani masterpiece.
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