[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"$3RR7AhFen7":3},{"single":4,"locales":103,"slices":105},{"id":5,"uid":6,"url":7,"type":8,"href":9,"tags":10,"first_publication_date":12,"last_publication_date":13,"slugs":14,"linked_documents":15,"lang":16,"alternate_languages":17,"data":18},"ZGstbxAAACEAql1p","amedeo-modigliani",null,"artist","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZGstbxAAACEAql1p%22%29+%5D%5D",[11],"Amedeo Modigliani","2023-05-22T10:04:55+0000","2023-08-15T14:39:05+0000",[6],[],"en-gb",[],{"title":11,"description":19,"birthyear":24,"deathyear":25,"is_alive":26,"cover_desktop":27,"cover_mobile":38,"thumbnail":45,"slices":48,"meta_title":91,"meta_description":92,"og_image":96},[20],{"type":21,"text":22,"spans":23},"paragraph","Italian painter and sculptor Amedeo Modigliani’s  portraits are unmistakable. Elongated figures, elegant yet rudimentary forms, and almond-shaped eyes are signatures of his style, which set him apart from his contemporaries. He was a pioneer who refused to conform to artistic trends during his short life. ",[],1884,1920,false,{"dimensions":28,"alt":31,"copyright":7,"url":32,"id":33,"edit":34},{"width":29,"height":30},3265,1837,"Amedeo Modigliani - Photo by Heritage Images\u002FGetty Images","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fc918e888-5a7d-4e6f-8c5e-cadc3dc617bb_Slide+16_9+Amedeo+Modigliani+%282%29.jpg?auto=compress,format","ZK0NuhEAACEAdeNA",{"x":35,"y":35,"zoom":36,"background":37},0,1,"#fff",{"dimensions":39,"alt":31,"copyright":7,"url":42,"id":43,"edit":44},{"width":40,"height":41},1945,3457,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F9534e110-4319-4739-8851-f27d86b4b6a8_Amedeo+Modigliani+9.16+%282%29.jpg?auto=compress,format","ZK0VUhEAACIAdgYF",{"x":35,"y":35,"zoom":36,"background":37},{"dimensions":46,"alt":31,"copyright":7,"url":42,"id":43,"edit":47},{"width":40,"height":41},{"x":35,"y":35,"zoom":36,"background":37},[49,68],{"variation":50,"version":51,"items":52,"primary":56,"id":66,"slice_type":67,"slice_label":7},"default-slice","sktwi1xtmkfgx8626",[53],{"post":54},{"link_type":55},"Document",{"slides_per_view":7,"max_slides_count":7,"tag":57,"type":64,"title":65,"paralax":7},{"id":58,"type":59,"tags":60,"lang":16,"slug":6,"first_publication_date":61,"last_publication_date":62,"uid":6,"link_type":55,"key":63,"isBroken":26},"ZA9CHxAAAKdKyyuy","tag",[11],"2023-03-13T15:44:44+0000","2023-03-20T16:55:09+0000","601f197e-760d-4eb1-9e80-f8b3f12d6d8b","article","Related Articles","carousel$0189d17b-cdbb-45f0-bfc6-bc0886d4b491","carousel",{"variation":50,"version":51,"items":69,"primary":71,"id":89,"slice_type":90,"slice_label":7},[70],{},{"push":72,"title":81,"subtitle":7,"description":82,"thumbnail":83},{"id":73,"type":74,"tags":75,"lang":16,"slug":76,"first_publication_date":77,"last_publication_date":78,"uid":79,"link_type":55,"key":80,"isBroken":26},"ZBNBcxAAACMAXuYT","podcast",[11],"simonetta-fraquelli--annette-king-modiglianis-enduring-appeal-and-spotting-his-fakes","2023-03-16T16:19:49+0000","2023-08-31T21:33:41+0000","why-does-amedeo-modigliani-have-such-enduring-appeal","fbec7640-9239-4e57-bae8-c42e236b7bb1","Related Audiocast",[],{"dimensions":84,"alt":7,"copyright":7,"url":86,"id":87,"edit":88},{"width":85,"height":85},1080,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F0bee4a06-f48d-418f-ab15-7c2e0e731c9a_230102_ARTEXPLORER_AUDIOCAST_SIMONETTA_FRAQUELLI+%281%29.jpg?auto=compress,format","ZBNBbRAAACAAXuYH",{"x":35,"y":35,"zoom":36,"background":37},"featured_thumbnail$d6701f8b-0b91-4022-b9c7-b16543e911ae","featured_thumbnail","Amedeo Modigliani Biography",[93],{"type":21,"text":94,"spans":95},"Italian painter and sculptor Amadeo Modigliani’s (1884-1920) portraits are unmistakable. Elongated figures, elegant yet rudimentary forms, and almond-shaped eyes are signatures of his style, which set him apart from his contemporaries. ",[],{"dimensions":97,"alt":11,"copyright":7,"url":100,"id":101,"edit":102},{"width":98,"height":99},2400,1200,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F5d96bdf7-9991-47b8-8885-3008fc9ee78f_Amedeo+%28artist%29+Image+Opengraph.jpg?auto=compress,format","ZK0L_hEAACEAddtQ",{"x":35,"y":35,"zoom":36,"background":37},{"en":104},{"slug":6},[106,450],{"slice":49,"payload":107},[108],{"id":109,"uid":110,"url":7,"type":64,"href":111,"tags":112,"first_publication_date":113,"last_publication_date":114,"slugs":115,"linked_documents":120,"lang":16,"alternate_languages":121,"data":122},"ZAhxkRAAACkAvx0D","amadeo-modigliani-a-century-of-enigma","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZAhxkRAAACkAvx0D%22%29+%5D%5D",[11],"2023-03-08T15:49:55+0000","2023-07-13T14:21:18+0000",[116,117,118,119],"amedeo-modigliani-through-the-microscope","do-we-know-modigliani-any-better-through-modigliani-up-close","the-show-at-the-barnes-foundation-in-philadelphia-serves-up-technical-discoveries-new-insights-and-fascinating-secrets-about-the-italian-artist-who-died-in-1920.","a-century-of-enigma",[],[],{"title":123,"subtitle":124,"author":125,"copyright_cover":171,"cover_desktop":172,"cover_mobile":179,"thumbnail":184,"published_at":7,"slices":187,"meta_title":123,"meta_description":420,"og_image":421,"slices2":426},"Amedeo Modigliani through the microscope","Delve into the artist’s enduring appeal and his use of materials",{"id":126,"type":127,"tags":128,"lang":16,"slug":129,"first_publication_date":130,"last_publication_date":131,"uid":132,"data":133,"link_type":55,"key":170,"isBroken":26},"ZBBfzBAAACgAzQAo","author",[],"william-corwin","2023-03-14T11:51:45+0000","2023-07-10T00:55:46+0000","will-corwin",{"description":134,"short_description":147,"job":151,"thumbnail":152,"cover":160,"uid":132,"title":156,"og_image":163,"meta_description":166,"meta_title":156},[135,138,141,144],{"type":21,"text":136,"spans":137},"William Corwin covers art news and features in North America. He is a sculptor, journalist, and curator from New York. He has exhibited at The Clocktower, LaMama and Geary galleries in New York, as well as galleries in London, Hamburg, Beijing and Taipei. ",[],{"type":21,"text":139,"spans":140},"He has written regularly for The Brooklyn Rail, Artpapers, Bomb, Artcritical, Raintaxi and Canvas and formerly for Frieze. He curated and wrote the catalog for Postwar Women at The Art Students League in New York, an exhibition of the school’s alumnae active between 1945-65, and 9th Street Club, an exhibition of Perle Fine, Helen Frankenthaler, Mercedes Matter, Grace Hartigan, Lee Krasner and Elaine Dekooning at Gazelli Art House in London. ",[],{"type":21,"text":142,"spans":143},"His most recent curatorial projects were the first solo exhibition of French Mid-century painter Marguerite Louppe (1901-1989) at Rosenberg & Co gallery in New York (Corwin has been working with the estates of Marguerite Louppe, and her husband the painter Maurice Brianchon for the past decade), and The Agreement:  Chromatic presences, and exhibition of colored sculpture featuring Ugo Rondinone, Lynn Umlauf, Remy Jungerman, Kianja Strobert and Tom Doyle, among others. ",[],{"type":21,"text":145,"spans":146},"He is the editor of Formal Concerns: Collected Essays of Saul Ostrow, to be published in 2023 by Elective Affinity Press, and participated in the exhibition Anchor\u002FRoots at the Newhouse Center for Contemporary Art at Snug Harbor Cultural Center in 2021. He is the author of the book &Model (2020), a history of a Grass-roots artist-run gallery in Northern England, published by Leeds Metropolitan University.",[],[148],{"type":21,"text":149,"spans":150},"William Corwin covers North America for ArtExplored",[],"Art Writer (North America)",{"dimensions":153,"alt":156,"copyright":156,"url":157,"id":158,"edit":159},{"width":154,"height":155},2660,3012,"William Corwin","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4bbbe5d4-21a0-489e-8fe3-96d3a471c015_William+Corwin+B%26W+Art+Explored.jpg?auto=compress,format","ZIg3ghAAACAApnDS",{"x":35,"y":35,"zoom":36,"background":37},{"dimensions":161,"alt":156,"copyright":7,"url":157,"id":158,"edit":162},{"width":154,"height":155},{"x":35,"y":35,"zoom":36,"background":37},{"dimensions":164,"alt":156,"copyright":156,"url":157,"id":158,"edit":165},{"width":154,"height":155},{"x":35,"y":35,"zoom":36,"background":37},[167],{"type":21,"text":168,"spans":169},"Will Corwin covers North America for ArtExplored",[],"ca44e0e0-3b99-4c1b-ac39-8a043ec67f95","Amedeo Modigliani. Portrait of Manuel Humbert, 1916. Collection of Bruce and Robbi Toll",{"dimensions":173,"alt":171,"copyright":171,"url":176,"id":177,"edit":178},{"width":174,"height":175},3840,2160,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff2bff450-b453-49b3-8275-f309d8550cac_Slide+16_9+-+71.jpg?auto=compress,format","ZCrhUBAAACIA8jIN",{"x":35,"y":35,"zoom":36,"background":37},{"dimensions":180,"alt":171,"copyright":171,"url":181,"id":182,"edit":183},{"width":175,"height":174},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F2f4d958a-edad-4383-81cc-013dbafd4c07_9_16.jpg?auto=compress,format","ZCrhUBAAACEA8jIO",{"x":35,"y":35,"zoom":36,"background":37},{"dimensions":185,"alt":171,"copyright":171,"url":181,"id":182,"edit":186},{"width":175,"height":174},{"x":35,"y":35,"zoom":36,"background":37},[188,207,234,259,315,363],{"variation":50,"version":51,"items":189,"primary":191,"id":205,"slice_type":206,"slice_label":7},[190],{},{"title":192,"content":197},[193],{"type":194,"text":195,"spans":196},"heading1","",[],[198],{"type":21,"text":199,"spans":200},"What is it about the eyes in Amedeo Modigliani’s painting? The majority of sitters in his paintings in Philadelphia’s Barnes Foundation exhibition Modigliani Up Close simply have grey blank spaces instead of eyeballs, rendering their faces more like masks. In Self-Portrait (1919), the very first canvas one encounters in the exhibition, the artist’s body lilts gently to the right and directs its empty pupil-less gaze slightly over our shoulder. Oddly, this missing ingredient doesn’t detract from the sense of personality we get from the bemused rakish Italian-Jewish artist clutching his palette to his chest. He would die a year later, and his eight-month-pregnant wife and muse, Jeanne Hébuterne would commit suicide the day after by jumping out of a window. She inhabits seven of the paintings in Modigliani Up Close. \n\nLegends and questionable anecdotes immediately began to swirl about the artist following his untimely death, and his radical, oft-ridiculed painting style, enigmatic eyeless faces, and penchant for painting lovers only fueled mounting interest in his work. His paintings have continued to grow in value, and he has simultaneously become a darling of forgers. ",[201],{"start":202,"end":203,"type":204},260,273,"em","text$a67971ff-df84-4025-858d-6c9279383f76","text",{"variation":208,"version":51,"items":209,"primary":221,"id":232,"slice_type":233,"slice_label":7},"centered-slice",[210],{"image":211,"title":215,"subtitle":220},{"dimensions":212,"alt":215,"copyright":216,"url":217,"id":218,"edit":219},{"width":213,"height":214},2220,3497,"Amedeo Modigliani. Self Portrait, 1919","Amedeo Modigliani. Self Portrait, 1919\nMuseu de Arte Contemporanea da Universidade de São Paulo, Gift of Yolanda Penteado and Francisco Matarazzo Sobrinho 1963.2.16 \u002F MAC USP Collection [Museu de Arte Contemporânea da USP Collection, São Paulo, Brazil]","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fd0755ded-040e-45b2-b9c3-2d9a517e70cd_Amedeo+Modigliani.+Self+Portrait_+1919.jpg?auto=compress,format","ZCvgvRAAACQA887p",{"x":35,"y":35,"zoom":36,"background":37},"Museu de Arte Contemporanea da Universidade de São Paulo, Gift of Yolanda Penteado and Francisco Matarazzo Sobrinho 1963.2.16 \u002F MAC USP Collection [Museu de Arte Contemporânea da USP Collection, São Paulo, Brazil]",{"image1":222,"label":7,"copyright":228},{"dimensions":223,"alt":215,"copyright":224,"url":225,"id":226,"edit":227},{"width":175,"height":175},"Amedeo Modigliani. Self Portrait, 1919\n\nMuseu de Arte Contemporanea da Universidade de São Paulo, Gift of Yolanda Penteado and Francisco Matarazzo Sobrinho 1963.2.16 \u002F MAC USP Collection [Museu de Arte Contemporânea da USP Collection, São Paulo, Brazil] ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fff260219-ad0d-4ed6-8984-bd6d70622700_carr%C3%A9.jpg?auto=compress,format","ZCv2xBAAACMA8_fn",{"x":35,"y":35,"zoom":36,"background":37},[229],{"type":21,"text":230,"spans":231},"Amedeo Modigliani. Self Portrait, 1919 Museu de Arte Contemporanea da Universidade de São Paulo, Gift of Yolanda Penteado and Francisco Matarazzo Sobrinho 1963.2.16 \u002F MAC USP Collection [Museu de Arte Contemporânea da USP Collection, São Paulo, Brazil] \n\n(Click on the image for full screen version)",[],"image$1092fce7-7b4c-4d00-9068-e79f33a5327e","image",{"variation":50,"version":51,"items":235,"primary":237,"id":258,"slice_type":206,"slice_label":7},[236],{},{"title":238,"content":239},[],[240],{"type":21,"text":241,"spans":242},"Modigliani Up Close brilliantly uses the science of painting conservation and such initially daunting technologies and methodologies as X-ray fluorescence mercury mapping and the Thread Count Automation Project to sift through the forgeries and myths about the fabled artist and begin to paint a portrait of the man who captured others so profoundly.\n\nLike a meticulous prosecutorial team building a sturdy case, the curators of the exhibition, a combination of academics and conservators – Barbara Buckley, Simonetta Fraquelli, Nancy Ireson, and Annette King – construct a narrative based on data gleaned from samples and scans. We watch the 22-year-old Italian artist, new to the burgeoning Parisian art scene in 1906, begin by slumming it – buying old canvases and painting his own images over them, as in The Pretty Housewife (1915). Or Modigliani simply recycled a canvas – more than a few times – such as the palimpsest-like double-sided painting Nude with a Hat (recto), Maud Abrantès (verso) (1908);  X-radiography has revealed an additional pair of portraits lying below the final paintings. The curators are quick to affirm that this was common practice among bohemians at the time (and before and since). But other details, such as Modigliani’s use of a previous artist’s colours in the basket in the hand of The Pretty Housewife, and his penchant for reusing canvases even when he had adequate funds to purchase fresh canvas and stretchers, seem to indicate individual aesthetic choices such as pulling inspiration from an already existing painting and adding an unexpected depth to his own, or a fascination with the unexpected textures of recycled paintings, respectively.",[243,246,249,252,255],{"start":244,"end":245,"type":204},19,20,{"start":247,"end":248,"type":204},809,829,{"start":250,"end":251,"type":204},953,968,{"start":253,"end":254,"type":204},978,991,{"start":256,"end":257,"type":204},1320,1340,"text$5ad4abeb-89f3-4a3f-aaad-592b9d816757",{"variation":260,"version":51,"items":261,"primary":295,"id":314,"slice_type":233,"slice_label":7},"double-slice",[262,273,284],{"image":263,"title":267,"subtitle":272},{"dimensions":264,"alt":267,"copyright":268,"url":269,"id":270,"edit":271},{"width":265,"height":266},2016,2580,"Amedeo Modigliani, Portrait of Maud Abrantes (verso), 1908.","Amedeo Modigliani, Portrait of Maud Abrantes (verso), 1908.\n\nReuben and Edith Hecht Museum, University of Haifa Photograph © Hecht Museum, University of Haifa, Photo: Shay Levy","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F22a4964f-b691-4a6e-8a93-2901c5b00109_Amedeo+Modigliani_+Portrait+of+Maud+Abrantes+%28verso%29%2C+1908.jpg?auto=compress,format","ZCvlKRAAACIA89bD",{"x":35,"y":35,"zoom":36,"background":37},"© Hecht Museum, University of Haifa, Photo: Shay Levy",{"image":274,"title":278,"subtitle":283},{"dimensions":275,"alt":278,"copyright":279,"url":280,"id":281,"edit":282},{"width":276,"height":277},2269,3254,"Amedeo Modigliani. Nude with a Hat (recto), 1908","Amedeo Modigliani. Nude with a Hat (recto), 1908\n\nReuben and Edith Hecht Museum, University of Haifa, Israel. Hecht Museum, Haifa\nPhotograph © Hecht Museum, University of Haifa, Photo: Shay Levy","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F45fe459c-32d5-4b5b-b33c-38c70b4e9780_Amedeo+Modigliani.+Nude+with+a+Hat+%28recto%29_+1908.jpg?auto=compress,format","ZCvrmRAAACEA8-MM",{"x":35,"y":35,"zoom":36,"background":37},"Photograph © Hecht Museum, University of Haifa, Photo: Shay Levy",{"image":285,"title":293,"subtitle":294},{"dimensions":286,"alt":289,"copyright":289,"url":290,"id":291,"edit":292},{"width":287,"height":288},3078,6922,"Amedeo Modigliani. The Pretty Housewife (La Jolie ménagère), 1915. The Barnes Foundation, BF327","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F59d0de05-5978-4561-aa9d-bf1613b86f42_Amedeo+Modigliani.+The+Pretty+Housewife+%28La+Jolie+m%C3%A9nag%C3%A8re%29.jpg?auto=compress,format","ZCvlKRAAACIA89bF",{"x":35,"y":35,"zoom":36,"background":37},"Amedeo Modigliani. The Pretty Housewife (La Jolie ménagère), 1915","The Barnes Foundation, BF327",{"image1":296,"image2":302,"label":309,"copyright":310},{"dimensions":297,"alt":267,"copyright":268,"url":299,"id":300,"edit":301},{"width":298,"height":174},2560,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F64064168-6512-4b7e-96a0-965ca948bac9_3_2+Amedeo+Modigliani_+Portrait+of+Maud+Abrantes+%28verso%29%2C+1908.jpg?auto=compress,format","ZCvkXhAAACMA89VU",{"x":35,"y":35,"zoom":36,"background":37},{"dimensions":303,"alt":289,"copyright":289,"url":306,"id":307,"edit":308},{"width":304,"height":305},1921,2881,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F10fc6719-5bd3-434c-9fdf-a581aef66428_3_2+Amedeo+Modigliani.+The+Pretty+Housewife+%28La+Jolie+m%C3%A9nag%C3%A8re%29.jpg?auto=compress,format","ZCvkmhAAACEA89XK",{"x":35,"y":35,"zoom":36,"background":37},"From left to right",[311],{"type":21,"text":312,"spans":313},"Portrait of Maud Abrantes(verso), 1908. Reuben and Edith Hecht Museum, University of Haifa Photograph © Hecht Museum, University of Haifa, Photo: Shay Levy\nThe Pretty Housewife (La Jolie ménagère), 1915. The Barnes Foundation, BF327\n(Click on the image for full screen version)",[],"image$a1012e0b-ed7a-4c95-a115-95a957842670",{"variation":50,"version":51,"items":316,"primary":318,"id":362,"slice_type":206,"slice_label":7},[317],{},{"title":319,"content":320},[],[321,360],{"type":21,"text":322,"spans":323},"The Thread Count Automation Project has been able to identify the signature pattern of threads in a roll of canvas and can place various paintings on the same roll. As Modigliani and his art dealer were purchasing premade canvases from manufacturers in Paris and the south of France, this path of research can authenticate a Modigliani painting beyond reasonable doubt. Modigliani’s Le Nu Couché (sur la côté gauche) (1917) sold in 2018 for $157.2 million, and considering that 20 out of 21 paintings were declared forgeries at a 2017 exhibition at the Palazzo Ducale in Genoa titled Modigliani, the need to prove that the works were actually created by the artist himself has become a significant concern.\n\nLike a druid’s mystical circle of stones, eight of Modigliani’s delicate and slender female heads form a klatch at the centre of the first gallery in Modigliani Up Close. This in part mimics the arrangement of the artist’s sculptural practice in the Cubist room of the Salon d’Automne in 1912, preserved in photographs. The sacred geometry of the presentation also pulls from accounts from the artist’s contemporaries of his inclination to create a temple-like atmosphere in his studio, with candles nestled on the crowns of his heads casting flickering shadows across the sinuous features. Conservators discovered wax traces on the sculptures, confirming this enlightening anecdote. Analysis of the limestone, and the block’s original shape before the carving began, offers another fascinating detail: that Modigliani purchased (or stole) pieces of stone destined for door jambs and lintels in buildings in Paris. Did these long narrow architectural elements inspire the artist to make elongated sculptural forms, or was he searching out blocks of this shape?\n\nThe first gallery flows into a room of elongated languorous gently writhing nudes: Nude with Coral Necklace (1917), Nude (1917), Seated Nude with a Skirt (1917), Reclining Nude (1917), and Reclining Nude (1919). Encompassed by a sea of pinks, much like being encircled by the ring of beige oolitic limestone in the first gallery, the viewer can watch Modigliani tweaking and refining his vision, he tilts his model’s hips forward and back, plays with line versus alternating shades of colour, and tries different props in order to heighten the sense of erotic connection between the sitter and the artist\u002Fviewer. Each of the galleries allows the viewer to explore the artist’s investigations based on type: light-filled portraits of bored pink-cheeked boys roped into modelling during his convalescence in 1918-19 in the south of France and in the final room a magnificent trio of large format paintings of the ill-fated lover Jeanne Hébuterne: Jeanne Hébuterne in a Yellow Sweater (1918-1919), Portrait of Jeanne Hébuterne (1918), and Jeanne Hébuterne (1919). Modigliani Up Close does not end in the allotted gallery space: because of the esoteric requirements of Albert Barnes himself – the paintings in the permanent galleries cannot be moved from their existing arrangement on the walls, so the visitor has to visit the foundation’s collection in order to see several of Modigliani’s greatest masterpieces, such as the aforementioned The Pretty Housewife, as well as the roguish portrait of the artist’s dealer Leopold Zborowski (1919), and Boy in a Sailor Suit (1917). Modigliani and his friend Soutine were some of the earliest artists to enter Barnes’ collection, and by seeing the paintings amongst Renoirs, Picassos, and Matisses, we begin to understand the mysterious Modigliani, who died so young, in the art ecosystem in which he was a vital part.\n\nModigliani Up Close\n16 October 2022 - 29 January 2023. The Barnes Foundation, Philadelphia. ",[324,327,330,333,336,339,342,345,348,351,354,357],{"start":325,"end":326,"type":204},383,417,{"start":328,"end":329,"type":204},1853,1877,{"start":331,"end":332,"type":204},1886,1890,{"start":334,"end":335,"type":204},1899,1923,{"start":337,"end":338,"type":204},1932,1946,{"start":340,"end":341,"type":204},1959,1973,{"start":343,"end":344,"type":204},2715,2751,{"start":346,"end":347,"type":204},2765,2793,{"start":349,"end":350,"type":204},2806,2822,{"start":352,"end":353,"type":204},3208,3228,{"start":355,"end":356,"type":204},3285,3302,{"start":358,"end":359,"type":204},3315,3335,{"type":21,"text":195,"spans":361},[],"text$2ea10c84-da5e-40d2-bab2-464d2beac4af",{"variation":208,"version":51,"items":364,"primary":409,"id":419,"slice_type":233,"slice_label":7},[365,376,387,398],{"image":366,"title":370,"subtitle":375},{"dimensions":367,"alt":370,"copyright":371,"url":372,"id":373,"edit":374},{"width":368,"height":369},6754,4354,"Amedeo Modigliani. Reclining Nude from the Back (Nu couché de dos), 1917, Oil on canvas","Amedeo Modigliani. Reclining Nude from the Back (Nu couché de dos), 1917, Oil on canvas\nThe Barnes Foundation, BF576.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff2a3354c-49ba-4747-b3d5-8d781f7ffc05_Amedeo+Modigliani.+Nude+with+Coral+Necklace_+1917.jpg?auto=compress,format","ZCrk4hAAACMA8jhn",{"x":35,"y":35,"zoom":36,"background":37},"The Barnes Foundation, BF576.",{"image":377,"title":381,"subtitle":386},{"dimensions":378,"alt":381,"copyright":382,"url":383,"id":384,"edit":385},{"width":379,"height":380},3593,2342,"Amedeo Modigliani. Nude with Coral Necklace, 1917","Amedeo Modigliani. Nude with Coral Necklace, 1917\n\nAllen Memorial Art Museum, Oberlin College, Oberlin, Ohio. Gift of Joseph and Enid Bissett 1955.59","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6ba2efc4-2477-4c5b-980f-3cd2ce3934a0_Amedeo+Modigliani.+Nude+with+Coral+Necklace_+1917.jpg?auto=compress,format","ZCvz9xAAACQA8_J9",{"x":35,"y":35,"zoom":36,"background":37},"Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio. Gift of Joseph and Enid Bissett 1955.59",{"image":388,"title":392,"subtitle":397},{"dimensions":389,"alt":392,"copyright":393,"url":394,"id":395,"edit":396},{"width":390,"height":391},3003,4606,"Amedeo Modigliani. Jeanne Hébuterne with Yellow Sweater, 1918–19","Amedeo Modigliani. Jeanne Hébuterne with Yellow Sweater, 1918–19\n\nSolomon R. Guggenheim Museum, New York.\nSolomon R. Guggenheim Founding Collection, by gift, 37.533\u002F Photo credit: The Solomon R. Guggenheim Foundation \u002F Art Resource, NY","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F8fc4043f-1bfb-498a-a0ca-460a135f7db6_Amedeo+Modigliani.+Jeanne+H%C3%A9buterne+with+Yellow+Sweater_+1918%E2%80%9319.jpg?auto=compress,format","ZCvvURAAACQA8-nr",{"x":35,"y":35,"zoom":36,"background":37},"Photo credit: The Solomon R. Guggenheim Foundation \u002F Art Resource, NY",{"image":399,"title":403,"subtitle":408},{"dimensions":400,"alt":403,"copyright":404,"url":405,"id":406,"edit":407},{"width":401,"height":402},2354,2938,"Amedeo Modigliani, Jeanne Hébuterne, 1919","Amedeo Modigliani, Jeanne Hébuterne, 1919. The Metropolitan Museum of Art, New York, Gift of Mr. and Mrs. Nate B. Spingold, 1956 (56.184.2)\nImage © The Metropolitan Museum of Art. Image source: Art Resource","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fcbb5b1f1-530d-4b67-b8f4-203be68f5433_Amedeo+Modigliani_+Jeanne+H%C3%A9buterne%2C+1919.jpg?auto=compress,format","ZCvyhRAAACIA8-_G",{"x":35,"y":35,"zoom":36,"background":37},"Image © The Metropolitan Museum of Art. Image source: Art Resource",{"image1":410,"label":7,"copyright":415},{"dimensions":411,"alt":370,"copyright":371,"url":412,"id":413,"edit":414},{"width":174,"height":298},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4e0c35f5-0dc0-41de-94c7-22cb7b1cbb82_3_2-2.jpg?auto=compress,format","ZCrkGhAAACEA8jb-",{"x":35,"y":35,"zoom":36,"background":37},[416],{"type":21,"text":417,"spans":418},"Amedeo Modigliani. Reclining Nude from the Back (Nu couché de dos), 1917, Oil on canvas\nThe Barnes Foundation, BF576.\n(Click on the image to see the carrousel)",[],"image$701d999b-2f59-4f4a-b8fb-e3487ab2bb96","ArtExplored delves into the mystery and allure of Modigliani's art and the impact of 'Modigliani Up Close.' Discover the enduring fascination with this Italian artist.",{"dimensions":422,"alt":171,"copyright":7,"url":423,"id":424,"edit":425},{"width":98,"height":99},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fbfd24834-ef66-4ac5-84f3-b8f7ed9ab67f_Amedo+Modigliani+Image+Opengraph.jpg?auto=compress,format","ZK_8thIAACMAahhe",{"x":35,"y":35,"zoom":36,"background":37},[427,433,441],{"variation":50,"version":51,"items":428,"primary":429,"id":432,"slice_type":67,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":430,"type":64,"title":431,"paralax":7},{"link_type":55},"Read more","carousel$76399f61-581f-4422-989a-c4d3a51b684f",{"variation":50,"version":51,"items":434,"primary":437,"id":440,"slice_type":67,"slice_label":7},[435],{"post":436},{"link_type":55},{"slides_per_view":7,"max_slides_count":7,"tag":438,"type":74,"title":439,"paralax":7},{"link_type":55},"Listen to audiocasts","carousel$454b3fee-0d33-4b7c-8484-8a1534e794eb",{"variation":50,"version":51,"items":442,"primary":445,"id":449,"slice_type":67,"slice_label":7},[443],{"post":444},{"link_type":55},{"slides_per_view":7,"max_slides_count":7,"tag":446,"type":447,"title":448,"paralax":7},{"link_type":55},"video","Discover more artists","carousel$f1aa84e6-dafc-432c-8410-d664d47c9613",{"slice":68,"payload":451},{"id":73,"uid":79,"url":7,"type":74,"href":452,"tags":453,"first_publication_date":77,"last_publication_date":78,"slugs":454,"linked_documents":460,"lang":16,"alternate_languages":461,"data":462},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBNBcxAAACMAXuYT%22%29+%5D%5D",[11],[76,455,456,457,458,459],"why-are-the-eyes-in-modiglianis-paintings-so-mysterious","modiglianis-enduring-appeal-and-spotting-his-fakes","why-are-amedeo-modiglianis-paintings-so-captivating","why-is-amedeo-modiglianis-work-so-captivating-and-why-do-so-many-art-forgers-copy-his-work","why-does-amedeo-modigliani-have-such-enduring-appeal...-and-why-do-so-many-art-forgers-copy-his-work",[],[],{"title":463,"subtitle":7,"color":464,"source":465,"published_at":7,"duration":473,"cover":474,"copyright_cover":7,"description":479,"narrator_copyright":483,"music_copyright":7,"mixing_copyright":7,"deezer_external":484,"spotify_external":486,"apple_podcast_external":490,"slices":491,"meta_title":569,"meta_description":570,"og_image":571,"slices2":577},"Simonetta Fraquelli & Annette King: Modigliani's enduring appeal and spotting his fakes!","#ffd9a5",{"link_type":466,"key":467,"kind":468,"id":469,"url":470,"name":471,"size":472},"Media","6ac35148-17dd-44ae-89fd-a7fa775948af","file","ZJQkvhEAACkAFt8n","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fartexplorer-prod\u002Fa63fe7fc-00bf-448e-b33f-17349a947691_230616_ARTEXPLORED_AUDIOCAST_SIMONETTA_FRAQUELLI.mp3","230616_ARTEXPLORED_AUDIOCAST_SIMONETTA_FRAQUELLI.mp3","9859499",600,{"dimensions":475,"alt":7,"copyright":7,"url":476,"id":477,"edit":478},{"width":175,"height":175},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7e5f9781-4dfb-4dcc-9c8c-93373690ccd5_carr%C3%A9-1.jpg?auto=compress,format","ZK_u3hIAACEAafCo",{"x":35,"y":35,"zoom":36,"background":37},[480],{"type":21,"text":481,"spans":482},"ArtExplored's North American art writer Will Corwin discusses why Modigliani's work continues to be so popular, his use of colour, and his subjects' mysterious eyes with Simonetta Fraquelli and Annette King, the co-curators of Modigliani Up Close, the artist's retrospective at the Barnes Foundation in Philadelphia. ",[],"George Nelson, William Corwin, Simonetta Fraquelli, and Annette King",{"link_type":485},"Any",{"link_type":487,"key":488,"url":489},"Web","c4b827a9-a93a-4cbc-9e68-170164798bb0","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F3hgiJBJvW5wc5Xtl7Jsz5f",{"link_type":485},[492],{"variation":50,"version":51,"items":493,"primary":566,"id":567,"slice_type":568,"slice_label":7},[494,500,506,511,520,526,531,536,541,546,551,556,561],{"speaker":495,"content":496},"WC",[497],{"type":21,"text":498,"spans":499},"Hi Simonetta and Annette, can you start by telling us why now is the right time for a Modigliani exhibition at the Barnes Foundation?",[],{"speaker":501,"content":502},"SF",[503],{"type":21,"text":504,"spans":505},"Annette and I both contributed and worked on an exhibition that was held at the Tate in 2017, a major Modigliani retrospective. And when we were working on that together with our colleague Nancy Ireson, we started looking at the technical conservation aspects of all the paintings, and we convinced the lenders to that exhibition to also look at their works. And from there came a series of articles that were published in the Burlington and further studies. And when the opportunity came at the Barnes to do a show, we felt that given that they had such a great collection of Modiglianis which had hitherto not been studied and which could benefit from being in a way catalogued and looked at carefully, also from a conservator’s point of view, we thought this was kind of a unique opportunity to build on what we had already done with the previous show and the previous research and to bring together a new group of paintings and to kind of further this work on the artist, which does open new kinds of avenues of research and understanding and really to be able to move forward with the artist in a way that had hitherto not be done, at least prior to the Tate show.",[],{"speaker":495,"content":507},[508],{"type":21,"text":509,"spans":510},"So, what is it about Modigliani’s work that gives him such enduring appeal?",[],{"speaker":512,"content":513},"AK",[514,517],{"type":21,"text":515,"spans":516},"He's an amazing colourist, so the colours really appeal and he seems to capture the essence of the subject without being too realistic or too representational but also there's a real elegance of form and because he was a classically trained artist, the more we looked at these paintings, the more we realised that he was bringing that to the paintings so they have a very pleasing harmony which may not first be evident. So, I think there's a lot about his paintings that really do appeal. And the sculptures.  ",[],{"type":21,"text":518,"spans":519}," ",[],{"speaker":521,"content":522},"SM",[523],{"type":21,"text":524,"spans":525},"If I can also add to that in terms of his appeal, I mean, he's an artist who since the early 1920s and shortly after his death became a favourite both with collectors and with the public. And that has endured, as Annette says, all the way through. He was always a little bit outside of any specific group. I mean, he wasn't connected with the Futurists or the Surrealists or the Cubists, and he forged his own path, which I think has been one that the general viewer has been able to connect with in a way that perhaps other artists have not been so accessible. His art is in many ways, even though I think it seems very on the surface, simple and direct, is actually, as our conservation studies have shown, much more sophisticated and much more worked out than maybe one would immediately think.",[],{"speaker":495,"content":527},[528],{"type":21,"text":529,"spans":530},"As curators, how did you strike a balance between the formal assessment of his artworks and the technical scientific viewpoints, which have such a strong focus in the show?",[],{"speaker":512,"content":532},[533],{"type":21,"text":534,"spans":535},"So, as we mentioned, the Tate exhibition was the beginning of this project and close looking has always been an important part of the conservator’s role, but also an art historian's role. And as we discussed the paintings, we were looking at very different aspects of the paintings, but bringing them together gave us a much more rounded view of each work and then connecting with all the other conservators and curators from the lending institutions we realised that we could then extend the story of each painting into a much more rounded view of his development, his career. And it just made sense for us all to share our findings and look for patterns of material use techniques that emerged throughout his career, creating a bigger picture of how he was working and how his working methods changed, and for example, you bring up the canvas project. It was called the Thread Count Automation Project run by Don Johnson in Texas. He developed software that could sort of look at digital X-rays and match canvas weave anomalies, placing paintings on the same role of canvas, which is fascinating in itself, but it gave us an insight into the materials he was using. So, we realised there were practically no matches before 1917 and then after Zborowski began supporting him, there was much more consistency. So, it seems that the supplies are coming through to the Zborowski, he's buying them and supplying Modigliani. Also, he favoured certain formats, the marine format. It also gave us an insight into colour makers and how they were producing these canvases. So, producing different sizes and formats on each role to get the maximum number of canvases from each role and there are lots of intricacies within those findings that we were still trying to work out, but it was a fascinating insight into his use of canvases and where they were coming from. And in terms of the balance, it was quite difficult, and it took a lot of discussion between us. So, I'll hand over Sim now.",[],{"speaker":501,"content":537},[538],{"type":21,"text":539,"spans":540},"I think that both Nancy and I were very keen that we wanted to work with Annette and with Barbara and have them, as conservators, be part of the curatorial team. But we were also very concerned – not concerned – it’s not the right word. conscious of the fact that when you present an exhibition, you have to do it in such a way to engage the viewer. And I think I could speak for Nancy as well. We wanted the conservation material to be accessible and to be present in the presentation, but we also wanted the show to work visually as an exhibition. And we wanted to draw out certain kinds of visual connections between the individual, for example, between the sculptures and the paintings, or between the group of nudes in a way that allowed the conservation material to be present, but at the same time didn't detract from the paintings themselves. Because one of the problems sometimes with exhibitions where they do have a lot of conservation material is that you find that the viewers end up looking just at the conservation material, not at the paintings themselves. So, I think we were very conscious, all four of us, of creating kind of a visual balance within the exhibition that still allowed you to appreciate the works, but then had this other layer of conservation information available to you. Of course, the catalogue has much more than the exhibition does, and perhaps one could find in other exhibitions or other projects ways of including more technical information through digital ways or whatever into the exhibition itself, but very keen that the paintings and the sculptures would stand in their own right as well.",[],{"speaker":495,"content":542},[543],{"type":21,"text":544,"spans":545},"And my penultimate question, why have there been so many forgeries of his work?",[],{"speaker":501,"content":547},[548],{"type":21,"text":549,"spans":550},"I think that when you have an artist who has a market, inevitably there are forgeries. And his market has been very strong since almost after the day he died. And he wasn't super prolific. He painted a number of paintings, but nowhere near like Picasso’s output. But, where there's a great market, I think there are always forgeries, and unfortunately, his market has always been very strong, and consequently, there have been many forgeries over the decades.",[],{"speaker":495,"content":552},[553],{"type":21,"text":554,"spans":555},"And finally, why are the eyes in Modigliani's paintings so mysterious?",[],{"speaker":501,"content":557},[558],{"type":21,"text":559,"spans":560},"This is a question that practically every single person that comes to the Modigliani exhibition asks. So, obviously it does strike a chord. I mean, personally, I think it has to do with his looking at perhaps African masks or sculptures, he does write about looking into the inside person through the eye and sometimes you have an eye that’s open and another one that’s crosshatched. Sometimes you have very ordinary eyes. So, I think there’s a great variety. But I think that the relationship with African artefacts may well be the key to this, but I haven’t really come across really a satisfactory answer to it over the years even though it’s a question that comes up all the time.",[],{"speaker":512,"content":562},[563],{"type":21,"text":564,"spans":565},"And frustratingly he never expressed that in writing or in interviews so we don’t know, but if you do look at the sculptures and panitings you can see a similarity in the eyes of the sculptures and as Simonetta said they were influenced by African art. So, yes, it’s a long-lasting mystery really.",[],{},"text_interview$7a8ae707-b642-460b-b0b5-6e939d3a68f4","text_interview","Modigliani's enduring appeal and spotting his fakes!","Co-curators of Modigliani Up Close – the artist's retrospective at the Barnes Foundation in Philadelphia – Simonetta Fraquelli and Anette King talk to ArtExplored.",{"dimensions":572,"alt":573,"copyright":7,"url":574,"id":575,"edit":576},{"width":98,"height":99},"ArtExplored audiocast with the co-curators of Modigliani Up Close Simonetta Fraquelli and Annette King","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F74b29019-9ccc-4141-bd26-8eb960af3714_Audiocast+Opengraph+Modigliani%27s+enduring+appeal+and+spotting+his+fakes%21.jpg?auto=compress,format","ZK_XhhIAACMAaY5H",{"x":35,"y":35,"zoom":36,"background":37},[578,615],{"variation":50,"version":51,"items":579,"primary":610,"id":614,"slice_type":67,"slice_label":7},[580,590,600],{"post":581},{"id":582,"type":74,"tags":583,"lang":16,"slug":585,"first_publication_date":586,"last_publication_date":587,"uid":588,"link_type":55,"key":589,"isBroken":26},"ZBGaLhAAACgAzxTK",[584],"Picasso ","julia-nagle-how-is-science-improving-art-conservation-techniques","2023-03-16T16:45:51+0000","2023-08-31T21:35:17+0000","conservator-julia-nagal-discusses-how-restoring-paintings","0e8161a0-fd1c-4ae1-b3ac-cba1bb011144",{"post":591},{"id":592,"type":74,"tags":593,"lang":16,"slug":595,"first_publication_date":596,"last_publication_date":597,"uid":598,"link_type":55,"key":599,"isBroken":26},"ZA8MXBAAACgAyr6g",[594],"Conservation ","curtis-dowling-fakes-and-forgeries-in-art","2023-03-13T11:44:46+0000","2023-08-31T21:34:49+0000","curtis-dowling-art-forgery-fakes","a466001b-f1c4-46bc-8e0a-c3cfb7f920b2",{"post":601},{"id":602,"type":74,"tags":603,"lang":16,"slug":605,"first_publication_date":606,"last_publication_date":607,"uid":608,"link_type":55,"key":609,"isBroken":26},"ZB3OZRAAACIAzkAv",[594,604],"Paul Cezanne","jorella-andrews-a-phenomenological-take-on-paul-cezanne","2023-03-24T16:23:05+0000","2023-08-31T21:35:53+0000","a-phenomenological-take-on-cezanne","48ecb368-bee0-4f69-83a5-4d8937457e43",{"slides_per_view":611,"max_slides_count":7,"tag":612,"type":74,"title":613,"paralax":7},3,{"link_type":55},"More Audiocast","carousel$18625f0d-cea1-4b21-98e1-454e17a02310",{"variation":50,"version":51,"items":616,"primary":619,"id":624,"slice_type":67,"slice_label":7},[617],{"post":618},{"link_type":55},{"slides_per_view":620,"max_slides_count":7,"tag":621,"type":64,"title":65,"paralax":7},4,{"id":58,"type":59,"tags":622,"lang":16,"slug":6,"first_publication_date":61,"last_publication_date":62,"uid":6,"link_type":55,"key":623,"isBroken":26},[11],"50b18e6f-1342-4b9d-8983-63824429c175","carousel$5a8cbd87-eb7f-4250-8101-f425a76ddcac"]