[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"$ewMdchgDF1":3},{"single":4,"locales":206,"slices":208},{"id":5,"uid":6,"url":7,"type":8,"href":9,"tags":10,"first_publication_date":12,"last_publication_date":13,"slugs":14,"linked_documents":21,"lang":22,"alternate_languages":23,"data":24},"ZBNBcxAAACMAXuYT","why-does-amedeo-modigliani-have-such-enduring-appeal",null,"podcast","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],"Amedeo Modigliani","2023-03-16T16:19:49+0000","2023-08-31T21:33:41+0000",[15,16,17,18,19,20],"simonetta-fraquelli--annette-king-modiglianis-enduring-appeal-and-spotting-his-fakes","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",[],"en-gb",[],{"title":25,"subtitle":7,"color":26,"source":27,"published_at":7,"duration":35,"cover":36,"copyright_cover":7,"description":45,"narrator_copyright":50,"music_copyright":7,"mixing_copyright":7,"deezer_external":51,"spotify_external":53,"apple_podcast_external":57,"slices":58,"meta_title":138,"meta_description":139,"og_image":140,"slices2":148},"Simonetta Fraquelli & Annette King: Modigliani's enduring appeal and spotting his fakes!","#ffd9a5",{"link_type":28,"key":29,"kind":30,"id":31,"url":32,"name":33,"size":34},"Media","77b5d796-866f-4518-8fd7-653716735054","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":37,"alt":7,"copyright":7,"url":39,"id":40,"edit":41},{"width":38,"height":38},2160,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7e5f9781-4dfb-4dcc-9c8c-93373690ccd5_carr%C3%A9-1.jpg?auto=compress,format","ZK_u3hIAACEAafCo",{"x":42,"y":42,"zoom":43,"background":44},0,1,"#fff",[46],{"type":47,"text":48,"spans":49},"paragraph","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":52},"Any",{"link_type":54,"key":55,"url":56},"Web","27b312c7-0ce5-4499-808e-d0c6159b9f58","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F3hgiJBJvW5wc5Xtl7Jsz5f",{"link_type":52},[59],{"variation":60,"version":61,"items":62,"primary":135,"id":136,"slice_type":137,"slice_label":7},"default-slice","sktwi1xtmkfgx8626",[63,69,75,80,89,95,100,105,110,115,120,125,130],{"speaker":64,"content":65},"WC",[66],{"type":47,"text":67,"spans":68},"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":70,"content":71},"SF",[72],{"type":47,"text":73,"spans":74},"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":64,"content":76},[77],{"type":47,"text":78,"spans":79},"So, what is it about Modigliani’s work that gives him such enduring appeal?",[],{"speaker":81,"content":82},"AK",[83,86],{"type":47,"text":84,"spans":85},"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":47,"text":87,"spans":88}," ",[],{"speaker":90,"content":91},"SM",[92],{"type":47,"text":93,"spans":94},"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":64,"content":96},[97],{"type":47,"text":98,"spans":99},"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":81,"content":101},[102],{"type":47,"text":103,"spans":104},"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":70,"content":106},[107],{"type":47,"text":108,"spans":109},"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":64,"content":111},[112],{"type":47,"text":113,"spans":114},"And my penultimate question, why have there been so many forgeries of his work?",[],{"speaker":70,"content":116},[117],{"type":47,"text":118,"spans":119},"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":64,"content":121},[122],{"type":47,"text":123,"spans":124},"And finally, why are the eyes in Modigliani's paintings so mysterious?",[],{"speaker":70,"content":126},[127],{"type":47,"text":128,"spans":129},"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":81,"content":131},[132],{"type":47,"text":133,"spans":134},"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":141,"alt":144,"copyright":7,"url":145,"id":146,"edit":147},{"width":142,"height":143},2400,1200,"ArtExplored audiocast with the co-curators of Modigliani Up Close Simonetta Fraquelli and Annette 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Nagle: How is science improving art conservation techniques?",{"link_type":28,"key":224,"kind":30,"id":225,"url":226,"name":227,"size":228},"c0e3eb6b-a602-4548-8d99-918b58730c70","ZJL5khEAACkAEYIk","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fartexplorer-prod\u002F20903495-2838-423f-86f5-5007e709f134_230616_ARTEXPLORED_AUDIOCAST_JULIA_NAGEL.mp3","230616_ARTEXPLORED_AUDIOCAST_JULIA_NAGEL.mp3","8512043","2023-08-10",713,{"dimensions":232,"alt":7,"copyright":7,"url":233,"id":234,"edit":235},{"width":38,"height":38},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff5376d69-fccc-487a-bbe5-8e4c2e0e37eb_carr%C3%A9.jpg?auto=compress,format","ZK_u3hIAACMAafCn",{"x":42,"y":42,"zoom":43,"background":44},[237],{"type":47,"text":238,"spans":239},"Julia Nagle set up her own studio in 2009 (Julia Nagle Conservation) and it is now the official conservator for Frieze Masters and Frieze London art fairs, while it also works with private collectors, insurers, commercial galleries, and public institutions worldwide. Julia explains how restoration and conservation techniques have advanced over the years.",[],"George Nelson, Julia Nagle",{"link_type":52},{"link_type":54,"key":243,"url":244},"64683a33-b9a1-44b3-9aaf-d863a2850b36","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F6m3DK4JetPQ5UJnx0GVG0x",{"link_type":52},[247],{"variation":60,"version":61,"items":248,"primary":303,"id":304,"slice_type":137,"slice_label":7},[249,255,261,267,273,278,283,288,293,298],{"speaker":250,"content":251},"GN ",[252],{"type":47,"text":253,"spans":254},"Hi Julia, thanks for talking to me today. Before we start, just to avoid any confusion, could you please explain the difference between a conservator and a restorer? ",[],{"speaker":256,"content":257},"JN ",[258],{"type":47,"text":259,"spans":260},"A conservator is just a bit more of a modern term, but we also say restorer as well because people often don’t know what you mean. So, it’s just a more modern term because what we’re trying to do is really preserve things and sort of protect them as opposed to actually take them back in time to some previous state, so we sort of acknowledge the fact that ageing happens for example, by calling ourselves conservators a bit more than restorers.  ",[],{"speaker":262,"content":263},"GN",[264],{"type":47,"text":265,"spans":266},"How quickly is conservation developing and have there been any scientific or technological breakthroughs in the last few years, few decades, that have been real game changers for the industry? ",[],{"speaker":268,"content":269},"JN",[270],{"type":47,"text":271,"spans":272},"Technical art history is a discipline that has grown over the last 20 years, 30 years possibly and we’ve got all sorts of methods of analysing paint films without destroying the painting itself and imaging and things like using X-rays, all sorts of different technologies to understand what’s actually in a painting in the first place. And also to see when we’ve cleaned a surface, for example, you can look at it with a scanning electron microscope and you can see on a massively enlarged image, quite what you’ve actually done to the surface of the painting that might not be visible to the naked eye. So, you can really fine-tune your own techniques to ensure that what you’ve done hasn’t sort of leached a paint film or scratched it microscopically or anything like that. So, I think, possibly, for me anyway, I would say, the kind of analysis and the imaging and the understanding of what you’re actually doing on a much finer level than what the eye can just see is just huge. I mean there have been really important breakthroughs on how to clean acrylic paints because they’re fairly new, they’ve really been in use since about the 1950s and they do respond very differently to water compared to oil paints, for example. So, there’s been a huge amount of research there. A lot of it was EU-funded so I don’t know how that will carry on now, but there’ve been some interesting breakthroughs in nanotechnology and introducing gels for using water in a safe way, not as a liquid, but you can take dirt off of very complex surfaces using gels rather than using liquid water, so yeah, just even sort of technologies on how to safely use water and how to adjust, very finely tune the PH of water so that you can safely clean a film that you might not be able to clean otherwise and so really sort of fine adjustments with our own materials.  ",[],{"speaker":262,"content":274},[275],{"type":47,"text":276,"spans":277},"Do you have a preference regarding a particular period or movement when it comes to conservation?  ",[],{"speaker":268,"content":279},[280],{"type":47,"text":281,"spans":282},"I really loved working with older paintings, I really, really enjoyed my time doing that. I did it for about 10 years so it’s not that I dislike it, but it’s just fascinating working with modern artists and contemporary artists, and I think as a female, there are fantastic older ladies working… it’s a much less sort of a sexist world I think nowadays, and you know there are many, many more artists from different backgrounds and a lot, lot more women artists now who are recognised and that’s been fantastic working with them. I find a lot of the older women really, really inspiring. So, we’ve worked with Faith Ringgold at the Serpentine and Caroline Kunsman we worked with recently, and I think it’s really interesting the messages that people have got. I mean they are, the art there is, it's expressing our modern culture and expressing kind of issues of the day, and so as I really enjoy that side of it as well and understanding what messages people are trying to put forward and helping them to do that where we can. Also, there’s a lot of research that has to go into understanding what the artist’s intention was. Which is all really interesting and fun to do but it’s also great when you can just ask the artist and they’re there as well. I think it’s a really nice collaboration and I think one thing that I found which I think would surprise quite a lot of people is how much contemporary artists are really interested in their materials and interested in their techniques. And I really want to support artists, that’s what we are trying to do. We’re trying to get the art out there, trying to support artists and having their work exhibited in the way they want it to be seen and there are some really important messages to be understood from it.",[],{"speaker":262,"content":284},[285],{"type":47,"text":286,"spans":287},"You mentioned to me before we started speaking, Julia, that you once worked on a painting that had been vandalised by someone’s lover in a jealous fit of rage, like a very intense lovers’ tiff I think. Can you just explain a bit more about that story? ",[],{"speaker":268,"content":289},[290],{"type":47,"text":291,"spans":292},"A lovers’ tiff..... the person took bathroom paint, red bathroom paint and painted in big letters, big angry letters all over a painting, so that took a huge amount of time to remove the paint from the original painting but we did manage to do that. But yes, when someone’s angry as well they really press the paint in. So, we ended up using a porcupine spine to pick out tiny bits of paint from bubbles in the paint film where it kind of got pressed into these little crevasses in the paint film so we used a porcupine spine under the microscope to pick out all these little spots of paint to clean it. ",[],{"speaker":262,"content":294},[295],{"type":47,"text":296,"spans":297},"Do you have a favourite painting that you’ve ever restored or conserved and if so, why, why is it that painting? ",[],{"speaker":268,"content":299},[300],{"type":47,"text":301,"spans":302},"It’s very hard to say because you because it’s very hard to have a favourite and to pick out a favourite. It’s a great privilege to be able to touch what we can’t afford and to spend that one-on-one time, intimate time with great artists. So, you know, sitting in front of a Picasso, I had to clean off fly spots, fly faeces basically for a whole day but you’re sitting with a wonderful painting and so it’s always a privilege to work with wonderful art, and to have that one-on-one relationship, even if it’s for a temporary period.  ",[],{},"text_interview$78ced8c2-13ce-4812-b9d5-51bfdc9511f9","How is science improving art restoration techniques?","Conservator Julia Nagle discusses how restoring paintings has changed over the the last couple of decades.",{"dimensions":308,"alt":309,"copyright":7,"url":310,"id":311,"edit":312},{"width":142,"height":143},"ArtExplored audiocast with art conservator Julia 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Investment","ludovic-subran-is-art-a-good-hedge-against-inflation","2023-05-31T11:53:41+0000","2023-08-31T21:34:18+0000","is-investing-in-art-a-good-hedge-against-inflation","4de7c22b-7021-40ba-83d6-91740054528c",{"post":327},{"id":165,"type":8,"tags":328,"lang":22,"slug":168,"first_publication_date":169,"last_publication_date":170,"uid":171,"link_type":160,"key":329,"isBroken":162},[167],"a4823dcf-72c1-410c-a30b-601e2cecb3cb",{"post":331},{"id":175,"type":8,"tags":332,"lang":22,"slug":178,"first_publication_date":179,"last_publication_date":180,"uid":181,"link_type":160,"key":333,"isBroken":162},[167,177],"5f6aaf0b-4d18-4daf-8e39-fbe8e8651b30",{"post":335},{"id":5,"type":8,"tags":336,"lang":22,"slug":15,"first_publication_date":12,"last_publication_date":13,"uid":6,"link_type":160,"key":337,"isBroken":162},[11],"62024805-9d0d-460f-a4ea-8460a6aa1e58",{"slides_per_view":194,"max_slides_count":194,"tag":339,"type":8,"title":186,"paralax":7},{"link_type":160},"carousel$a3497cfe-0f72-49d4-871f-4d5b7a083b9d",{"variation":60,"version":61,"items":342,"primary":345,"id":348,"slice_type":188,"slice_label":7},[343],{"post":344},{"link_type":160},{"slides_per_view":194,"max_slides_count":184,"tag":346,"type":203,"title":347,"paralax":7},{"link_type":160},"Explore","carousel$37958bb9-5f44-4ea6-8ace-820083cac27c",{"id":165,"uid":171,"url":7,"type":8,"href":350,"tags":351,"first_publication_date":169,"last_publication_date":170,"slugs":352,"linked_documents":356,"lang":22,"alternate_languages":357,"data":358},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZA8MXBAAACgAyr6g%22%29+%5D%5D",[167],[168,353,354,355],"curtis-dowling-on-fakes-and-forgeries-in-art","the-genuine-article-fakes-and-forgeries-in-art","does-the-art-world-rely-on-technology-too-much-to-spot-forged-paintings",[],[],{"title":359,"subtitle":7,"color":360,"source":361,"published_at":7,"duration":367,"cover":368,"copyright_cover":7,"description":373,"narrator_copyright":377,"music_copyright":7,"mixing_copyright":7,"deezer_external":378,"spotify_external":379,"apple_podcast_external":382,"slices":383,"meta_title":418,"meta_description":419,"og_image":420,"slices2":426},"Curtis Dowling: Fakes and forgeries in art","#7f9669",{"link_type":28,"key":362,"kind":30,"id":363,"url":364,"name":365,"size":366},"4b50d21a-2899-430f-8b17-52268b193ba4","ZKbdQhEAACQAWnTz","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fartexplorer-prod\u002F539e36ae-482f-4acf-8411-95762d46ca44_230616_ARTEXPLORED_AUDIOCAST_CURTIS_DOWLING.m4a","230616_ARTEXPLORED_AUDIOCAST_CURTIS_DOWLING.m4a","10707159",336,{"dimensions":369,"alt":7,"copyright":7,"url":370,"id":371,"edit":372},{"width":38,"height":38},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fa5ceef6b-814d-42f1-926e-a94b26a92c3e_carr%C3%A9-2.jpg?auto=compress,format","ZK_u3hIAACIAafCq",{"x":42,"y":42,"zoom":43,"background":44},[374],{"type":47,"text":375,"spans":376},"ArtExplored talks to Curtis Dowling, who claims to have never been wrong as an art authenticator in a career spanning 30 years, about the many forgeries plaguing the art market.",[],"George Nelson, Curtis Dowling",{"link_type":52},{"link_type":54,"key":380,"url":381},"5c619359-f43c-4d67-bca4-7d7c06494a6b","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F228190XEW35l2CIRwPYPVY",{"link_type":52},[384],{"variation":60,"version":61,"items":385,"primary":416,"id":417,"slice_type":137,"slice_label":7},[386,391,404,411],{"speaker":262,"content":387},[388],{"type":47,"text":389,"spans":390},"Hi Curtis, you say never been wrong as an art authenticator in a career spanning three decades but there must have been at least a couple of occasions when you severely questioned your own judgement... ",[],{"speaker":392,"content":393},"CD",[394],{"type":47,"text":395,"spans":396},"Well, yeah. It’s an arrogant statement to make but I haven’t been, so it would be foolish of me to say anything other than I haven’t been wrong and I think we’re all good at something, aren’t we? Nobody’s been left out, and this just happens to be the one thing I am good at. And I’ve been very lucky that I’ve been able to make a career out of it for 34-35 years. But yeah, along the way, there are always pieces of art that are testing. For a lot of reasons. You’ll find with paintings, especially Old Masters, that they are never in the state that they were when they were first painted. They’ve been cleaned, they’ve been mended, they’ve been moved around, they’ve had all sorts of handprints on them and cigarette smoke, and you know … you name it, it’s kind of been around. So, when you come across a piece, even if you might know it’s genuine or not, you have to be able to document that and prove it beyond reasonable doubt. So, when things have been, for example, cleaned – and you know the Victorians were notoriously bad at cleaning – they might very well have used modern chemicals that stick to the paint. We had a painting the last twelve months that we knew was genuine, but every technical test proved it wasn’t and the truth was it had been messed around with so much – or cleaned, the list goes on – that all the tests were coming back that it had modern paint, modern chemicals on it, the wood didn’t quite match up. So, what you’re doing with all pictures is you’re trying to get in the mind of the artist to start with, but with some of the things you work on, you’ve got seven or eight hundred years of history to try and fill in, so there’s always going to be times when you sit down at the end of the day and think, ‘I just can't see how we can prove, one way or the other, our initial impressions,’ but after a while there’s always a way. There’s always something that comes up, that tips the balance, and turns a maybe into a definite. Whether that’s a definite genuine or a definite forgery, so yes, we get tested all the time. ",[397,401],{"start":398,"end":399,"type":400},1939,1944,"em",{"start":402,"end":403,"type":400},1952,1960,{"speaker":262,"content":405},[406,409],{"type":47,"text":407,"spans":408},"Do you think the art world relies too much on technology to spot fakes? ",[],{"type":47,"text":87,"spans":410},[],{"speaker":392,"content":412},[413],{"type":47,"text":414,"spans":415},"Of course, it helps in some ways. What you do have to remember is any technical test or any technology that’s being used to authenticate items these days, is also owned by all the best forgers. Only bad forgers ever get caught. And of course, technology will pick up bad forgeries but then so will an experienced art dealer. So, it will pick up bad forgeries, it will pick up the wrong wood, the wrong paint, the wrong canvas, the wrong brush strokes. AI is probably a few decades away from being able to genuinely spot a forgery. But obviously, they’re working on it. Technical testing, we have to be sceptical about because we don’t just authenticate work, we forge items as well. And we forge it first of all for our own learning abilities but also from a presentation point of view. We were only in London a few days ago doing exactly that. And we can get around all these tests. So, all these tests you’ll pay £25,000 – all these big companies – I can show you with a shopping trip to Tesco’s, to get all the bits you need, how to get around them all. So yes they are useful, in a small way, they’re certainly of no use if you’re dealing with a forger that knows what he’s doing. As for AI, it will continue to become more useful as the years go on. Currently, again, it will catch out bad forgers, it won’t catch out the good ones and it’s the good ones that we’re trying to stop.",[],{},"text_interview$ba0cda50-eebb-4f2e-8f76-4bc367ba81b9","The genuine article: Fakes and forgeries in art","Curtis Dowling is an art authenticator who talks about the many forgeries plaguing the art market.",{"dimensions":421,"alt":422,"copyright":7,"url":423,"id":424,"edit":425},{"width":142,"height":143},"Art Explored audiocast with prominent art authenticator Curtis Dowling","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff96ebec8-52cf-46f5-bc03-bbf83f9020e0_Audiocast+Opengraph+The+genuine+article.jpg?auto=compress,format","ZK_XhRIAACEAaY5E",{"x":42,"y":42,"zoom":43,"background":44},[427,445],{"variation":60,"version":61,"items":428,"primary":441,"id":444,"slice_type":188,"slice_label":7},[429,433,437],{"post":430},{"id":5,"type":8,"tags":431,"lang":22,"slug":15,"first_publication_date":12,"last_publication_date":13,"uid":6,"link_type":160,"key":432,"isBroken":162},[11],"56549811-a6da-4741-881f-333f08f5f466",{"post":434},{"id":175,"type":8,"tags":435,"lang":22,"slug":178,"first_publication_date":179,"last_publication_date":180,"uid":181,"link_type":160,"key":436,"isBroken":162},[167,177],"436a8445-56a8-4dc2-a40a-168749f64e91",{"post":438},{"id":153,"type":8,"tags":439,"lang":22,"slug":156,"first_publication_date":157,"last_publication_date":158,"uid":159,"link_type":160,"key":440,"isBroken":162},[155],"9203042c-193c-4476-9b63-c792c607aa95",{"slides_per_view":184,"max_slides_count":7,"tag":442,"type":8,"title":443,"paralax":7},{"link_type":160},"Listen to more audiocasts","carousel$4924dcef-e296-4e84-9bd4-8613f80a2096",{"variation":60,"version":61,"items":446,"primary":449,"id":452,"slice_type":188,"slice_label":7},[447],{"post":448},{"link_type":160},{"slides_per_view":7,"max_slides_count":7,"tag":450,"type":203,"title":451,"paralax":7},{"link_type":160},"Read more","carousel$0918eb09-ba72-4702-a259-cc286c0d371b",{"id":175,"uid":181,"url":7,"type":8,"href":454,"tags":455,"first_publication_date":179,"last_publication_date":180,"slugs":456,"linked_documents":458,"lang":22,"alternate_languages":459,"data":460},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZB3OZRAAACIAzkAv%22%29+%5D%5D",[167,177],[178,457,181],"a-phenomenological-take-on-paul-cezanne",[],[],{"title":461,"subtitle":7,"color":462,"source":463,"published_at":7,"duration":469,"cover":470,"copyright_cover":7,"description":475,"narrator_copyright":479,"music_copyright":7,"mixing_copyright":7,"deezer_external":480,"spotify_external":481,"apple_podcast_external":484,"slices":485,"meta_title":541,"meta_description":7,"og_image":542,"slices2":548},"Jorella Andrews: A phenomenological take on Paul Cezanne","#ffc289",{"link_type":28,"key":464,"kind":30,"id":465,"url":466,"name":467,"size":468},"3feff1eb-6676-4792-8966-bb7bf6b816ab","ZJQhMBEAACcAFs4R","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fartexplorer-prod\u002F3f657253-cbc5-4c92-b2aa-c463ccb83c9e_230617_ARTEXPLORED_AUDIOCAST_JORELLA_ANDREWS.mp3","230617_ARTEXPLORED_AUDIOCAST_JORELLA_ANDREWS.mp3","13166323",550,{"dimensions":471,"alt":7,"copyright":7,"url":472,"id":473,"edit":474},{"width":38,"height":38},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Faeafb334-6a1d-40b8-ad91-e36a2325aa13_carr%C3%A9-3.jpg?auto=compress,format","ZK_u3hIAACIAafCm",{"x":42,"y":42,"zoom":43,"background":44},[476],{"type":47,"text":477,"spans":478},"ArtExplored talks to Jorella Andrews, a senior lecturer in the Visual Cultures department at Goldsmiths, University of London about viewing the French post-Impressionist painter through the lens of French philosopher and phenomenologist Maurice Merleau-Ponty. ",[],"George Nelson, Jorella Andrews",{"link_type":52},{"link_type":54,"key":482,"url":483},"2da7b3d5-6a24-4e7a-b612-e7e6693cc330","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F02rM3eRCPWBm2DMcAYK3T0",{"link_type":52},[486],{"variation":60,"version":61,"items":487,"primary":539,"id":540,"slice_type":137,"slice_label":7},[488,493,499,504,509,514,519,524,529,534],{"speaker":262,"content":489},[490],{"type":47,"text":491,"spans":492},"Hi Jorella, to start things off, can you quickly explain how you came to study Merleau-Ponty?",[],{"speaker":494,"content":495},"JA",[496],{"type":47,"text":497,"spans":498},"I really came to the study of art theory through art practice, so I originally studied fine art and then I actually worked in the world of media, so I worked in video production. And then I returned to art theory with a massive interest in ambiguity as a thematic. And it was that interest in ambiguity that brought me to the work of Merleau-Ponty. ",[],{"speaker":262,"content":500},[501],{"type":47,"text":502,"spans":503},"I’m sure many people will never have heard of phenomenology. Would you mind just explaining what it is exactly?",[],{"speaker":494,"content":505},[506],{"type":47,"text":507,"spans":508},"Phenomenology is a branch of philosophy that focuses on the world of the experience and particularly the world as it reveals itself to consciousness. And so, for some phenomenologists, they were still thinking in quite an idealistic way in the sense that consciousness is something that is quite rarefied, it’s very much linked with a disembodied idea of thought but for someone like Maurice Merleau-Ponty who was active between the late 1930s and the early 1960s – he died in 1961 – he was really interested in this notion of consciousness being embodied. So, he’s moving away from that shift between disembodied mind and embodied… you know… the body. He’s seeing bodies as thinking entities and not only human bodies but other sorts of material assemblages as having a kind of thoughtfulness and he’s wanting to open that space up and encourage us to enter into that. So, with phenomenology, you’re not thinking about how the world could be or should be, you’re really trying to observe and enter into how the world is presenting itself to us now, and for that reason, the most important phenomenological method is description, which is often regarded quite dismissively as not actually accomplishing anything. But description is absolutely vital because as you describe, you are sort of entering into the world of the thing that you’re looking at and inevitably that process begins to kind of undo the expectations that you might have brought. And with that, you can see how applicable that is not just with becoming more intimate with a particular work of art but also with another person or a group of people, so you can see where kind of the political and social advantages of a practice like that, you know, where they might really come into play.",[],{"speaker":262,"content":510},[511],{"type":47,"text":512,"spans":513},"So, with this in mind how does Merleau-Ponty as a phenomenologist relate to Cezanne’s artistic practice?",[],{"speaker":494,"content":515},[516],{"type":47,"text":517,"spans":518},"If you read the essay for which he is very well known – Cezanne’s Doubt – he would argue what he wanted to do was uncouple the appearance of Cezanne’s work including his self-portraits from a kind of autobiographical reading where the painting is a symptom of the artist’s sort of inner sense of self. And what he wants to do is think very much about doubt or insecurity or whatever it might be, thinking about that much more as having to do with the painterly quest that Cezanne was on because when he was painting, whether it was painting himself or painting a landscape, he was very interested in, I would say, a way of painting that allows paint, and colour, and line, and those sorts of forms to take the lead and out of those forms of mark making which you could, at first sight, appear to be very unstructured, very unclear, allowing something to emerge from that and that is quite an insecure way of working. You’re not plotting and kind of demarcating figures and objects. You’re working in a way that will eventually allow those sorts of objects, faces, and figures to take form in the process of painting. So, it’s a way of working that carries a lot of uncertainty with it and that’s what Merleau-Ponty was interested in. You know, he was seeing Cezanne’s quest very much a kind of philosophical one but as philosophical, in a very materialised way. ",[],{"speaker":262,"content":520},[521],{"type":47,"text":522,"spans":523},"Does Merleau-Ponty approach Cezanne’s work and outlook from a specific angle in his essay and does he focus on any particular material?",[],{"speaker":494,"content":525},[526],{"type":47,"text":527,"spans":528},"The essay starts off with him criticising biographical readings that position Cezanne as mentally deranged and disturbed. And he positions the difficulties of Cezanne in terms of his quest, this painterly quest that he has, and he doesn’t know quite what it is. And what he does more is think about the kind of transitions in his work, the sense that he’s been looking at the works but he’s drawing a lot more on the sorts of things that Cezanne might have said himself about the process and he’s also doing some comparative work. Looking at the way in which Cezanne’s work was kind of departing from some of the other conventions and what he’s also doing is, you know, referring to and he’s in conversation with some books on Cezanne that would have been published at the time. You know, looking at sort of Cezanne’s use of space and things like that. So, he’s very much positioning himself between a whole range of materials. ",[],{"speaker":262,"content":530},[531],{"type":47,"text":532,"spans":533},"And finally, Jorella, what does Merleau-Ponty write about Cezanne’s stylistic development over the course of his career?",[],{"speaker":494,"content":535},[536],{"type":47,"text":537,"spans":538},"So Merleau-Ponty, a lot of the time is less interested in paintings per se, he’s not an art historian but he’s interested in what Cezanne had to say about the processes of looking and making. So, often that’s what he’s drawing on as a philosopher. And, when it comes to this he talks very interestingly about the stylistic development in Cezanne’s work and he talks about it very much in material terms like he, for instance, talks about this moment after Cezanne has been working, connected with the Impressionists, and that’s been really important for him. Particularly working very closely with Pissarro. But then, increasingly what you see in Cezanne’s use of paint and his mark marking, and what you also see in his writing, is that Impressionism isn’t doing it for him because Cezanne has this abiding interest in structure, underlying structure, and there’s that kind of expression really, this idea that what – Merleau-Ponty – what Cezanne is trying to do, is to almost refine the object underneath the kind of impression. That the Impressionists are so interested in. So, yeah, and one of the things that Merleau-Ponty does is he looks at the way in which Cezanne uses colour. He looks at his colour palette and the way in which that is so very different from what the Impressionists were using and it’s that sense of you know, what makes the difference for Cezanne quite often is the materiality, the application, out of which a different sense of the world then emerges in the work itself. ",[],{},"text_interview$97a8f3ac-b004-4056-8e73-bb8306d367b4","A phenomenological take on Paul Cezanne",{"dimensions":543,"alt":544,"copyright":7,"url":545,"id":546,"edit":547},{"width":142,"height":143},"Art Explored audiocast with Jorella Andrews, professor of Visual Cultures at Goldsmiths, University of London","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff7a41ec3-0f55-4612-8ec8-3dc879c5f67c_Audiocast+Opengraph+A+phenomenological+take+on+Paul+C%C3%A9zanne.jpg?auto=compress,format","ZK_XghIAACMAaY4z",{"x":42,"y":42,"zoom":43,"background":44},[549,566],{"variation":60,"version":61,"items":550,"primary":563,"id":565,"slice_type":188,"slice_label":7},[551,555,559],{"post":552},{"id":153,"type":8,"tags":553,"lang":22,"slug":156,"first_publication_date":157,"last_publication_date":158,"uid":159,"link_type":160,"key":554,"isBroken":162},[155],"74d37691-ca1c-4c78-8ae0-8725251cb009",{"post":556},{"id":5,"type":8,"tags":557,"lang":22,"slug":15,"first_publication_date":12,"last_publication_date":13,"uid":6,"link_type":160,"key":558,"isBroken":162},[11],"df54b5bb-7bf6-47d4-8841-b06f5e50248d",{"post":560},{"id":165,"type":8,"tags":561,"lang":22,"slug":168,"first_publication_date":169,"last_publication_date":170,"uid":171,"link_type":160,"key":562,"isBroken":162},[167],"faedad28-882e-4505-8b63-ee4deb31ac1b",{"slides_per_view":184,"max_slides_count":7,"tag":564,"type":8,"title":186,"paralax":7},{"link_type":160},"carousel$bf4d33a6-0203-4c15-bc1c-97daf45a5b16",{"variation":60,"version":61,"items":567,"primary":570,"id":572,"slice_type":188,"slice_label":7},[568],{"post":569},{"link_type":160},{"slides_per_view":194,"max_slides_count":184,"tag":571,"type":203,"title":347,"paralax":7},{"link_type":160},"carousel$612a5242-0b6e-4756-a92e-0d6bafec1862",{"slice":189,"payload":574},[575],{"id":576,"uid":577,"url":7,"type":203,"href":578,"tags":579,"first_publication_date":580,"last_publication_date":581,"slugs":582,"linked_documents":587,"lang":22,"alternate_languages":588,"data":589},"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",[583,584,585,586],"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":590,"subtitle":591,"author":592,"copyright_cover":638,"cover_desktop":639,"cover_mobile":645,"thumbnail":650,"published_at":7,"slices":653,"meta_title":590,"meta_description":885,"og_image":886,"slices2":891},"Amedeo Modigliani through the microscope","Delve into the artist’s enduring appeal and his use of materials",{"id":593,"type":594,"tags":595,"lang":22,"slug":596,"first_publication_date":597,"last_publication_date":598,"uid":599,"data":600,"link_type":160,"key":637,"isBroken":162},"ZBBfzBAAACgAzQAo","author",[],"william-corwin","2023-03-14T11:51:45+0000","2023-07-10T00:55:46+0000","will-corwin",{"description":601,"short_description":614,"job":618,"thumbnail":619,"cover":627,"uid":599,"title":623,"og_image":630,"meta_description":633,"meta_title":623},[602,605,608,611],{"type":47,"text":603,"spans":604},"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":47,"text":606,"spans":607},"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":47,"text":609,"spans":610},"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":47,"text":612,"spans":613},"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.",[],[615],{"type":47,"text":616,"spans":617},"William Corwin covers North America for ArtExplored",[],"Art Writer (North America)",{"dimensions":620,"alt":623,"copyright":623,"url":624,"id":625,"edit":626},{"width":621,"height":622},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":42,"y":42,"zoom":43,"background":44},{"dimensions":628,"alt":623,"copyright":7,"url":624,"id":625,"edit":629},{"width":621,"height":622},{"x":42,"y":42,"zoom":43,"background":44},{"dimensions":631,"alt":623,"copyright":623,"url":624,"id":625,"edit":632},{"width":621,"height":622},{"x":42,"y":42,"zoom":43,"background":44},[634],{"type":47,"text":635,"spans":636},"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":640,"alt":638,"copyright":638,"url":642,"id":643,"edit":644},{"width":641,"height":38},3840,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff2bff450-b453-49b3-8275-f309d8550cac_Slide+16_9+-+71.jpg?auto=compress,format","ZCrhUBAAACIA8jIN",{"x":42,"y":42,"zoom":43,"background":44},{"dimensions":646,"alt":638,"copyright":638,"url":647,"id":648,"edit":649},{"width":38,"height":641},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F2f4d958a-edad-4383-81cc-013dbafd4c07_9_16.jpg?auto=compress,format","ZCrhUBAAACEA8jIO",{"x":42,"y":42,"zoom":43,"background":44},{"dimensions":651,"alt":638,"copyright":638,"url":647,"id":648,"edit":652},{"width":38,"height":641},{"x":42,"y":42,"zoom":43,"background":44},[654,672,699,724,780,828],{"variation":60,"version":61,"items":655,"primary":657,"id":670,"slice_type":671,"slice_label":7},[656],{},{"title":658,"content":663},[659],{"type":660,"text":661,"spans":662},"heading1","",[],[664],{"type":47,"text":665,"spans":666},"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. ",[667],{"start":668,"end":669,"type":400},260,273,"text$a67971ff-df84-4025-858d-6c9279383f76","text",{"variation":673,"version":61,"items":674,"primary":686,"id":697,"slice_type":698,"slice_label":7},"centered-slice",[675],{"image":676,"title":680,"subtitle":685},{"dimensions":677,"alt":680,"copyright":681,"url":682,"id":683,"edit":684},{"width":678,"height":679},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":42,"y":42,"zoom":43,"background":44},"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":687,"label":7,"copyright":693},{"dimensions":688,"alt":680,"copyright":689,"url":690,"id":691,"edit":692},{"width":38,"height":38},"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":42,"y":42,"zoom":43,"background":44},[694],{"type":47,"text":695,"spans":696},"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":60,"version":61,"items":700,"primary":702,"id":723,"slice_type":671,"slice_label":7},[701],{},{"title":703,"content":704},[],[705],{"type":47,"text":706,"spans":707},"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.",[708,711,714,717,720],{"start":709,"end":710,"type":400},19,20,{"start":712,"end":713,"type":400},809,829,{"start":715,"end":716,"type":400},953,968,{"start":718,"end":719,"type":400},978,991,{"start":721,"end":722,"type":400},1320,1340,"text$5ad4abeb-89f3-4a3f-aaad-592b9d816757",{"variation":725,"version":61,"items":726,"primary":760,"id":779,"slice_type":698,"slice_label":7},"double-slice",[727,738,749],{"image":728,"title":732,"subtitle":737},{"dimensions":729,"alt":732,"copyright":733,"url":734,"id":735,"edit":736},{"width":730,"height":731},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":42,"y":42,"zoom":43,"background":44},"© Hecht Museum, University of Haifa, Photo: Shay Levy",{"image":739,"title":743,"subtitle":748},{"dimensions":740,"alt":743,"copyright":744,"url":745,"id":746,"edit":747},{"width":741,"height":742},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":42,"y":42,"zoom":43,"background":44},"Photograph © Hecht Museum, University of Haifa, Photo: Shay Levy",{"image":750,"title":758,"subtitle":759},{"dimensions":751,"alt":754,"copyright":754,"url":755,"id":756,"edit":757},{"width":752,"height":753},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":42,"y":42,"zoom":43,"background":44},"Amedeo Modigliani. The Pretty Housewife (La Jolie ménagère), 1915","The Barnes Foundation, BF327",{"image1":761,"image2":767,"label":774,"copyright":775},{"dimensions":762,"alt":732,"copyright":733,"url":764,"id":765,"edit":766},{"width":763,"height":641},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":42,"y":42,"zoom":43,"background":44},{"dimensions":768,"alt":754,"copyright":754,"url":771,"id":772,"edit":773},{"width":769,"height":770},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":42,"y":42,"zoom":43,"background":44},"From left to right",[776],{"type":47,"text":777,"spans":778},"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":60,"version":61,"items":781,"primary":783,"id":827,"slice_type":671,"slice_label":7},[782],{},{"title":784,"content":785},[],[786,825],{"type":47,"text":787,"spans":788},"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. ",[789,792,795,798,801,804,807,810,813,816,819,822],{"start":790,"end":791,"type":400},383,417,{"start":793,"end":794,"type":400},1853,1877,{"start":796,"end":797,"type":400},1886,1890,{"start":799,"end":800,"type":400},1899,1923,{"start":802,"end":803,"type":400},1932,1946,{"start":805,"end":806,"type":400},1959,1973,{"start":808,"end":809,"type":400},2715,2751,{"start":811,"end":812,"type":400},2765,2793,{"start":814,"end":815,"type":400},2806,2822,{"start":817,"end":818,"type":400},3208,3228,{"start":820,"end":821,"type":400},3285,3302,{"start":823,"end":824,"type":400},3315,3335,{"type":47,"text":661,"spans":826},[],"text$2ea10c84-da5e-40d2-bab2-464d2beac4af",{"variation":673,"version":61,"items":829,"primary":874,"id":884,"slice_type":698,"slice_label":7},[830,841,852,863],{"image":831,"title":835,"subtitle":840},{"dimensions":832,"alt":835,"copyright":836,"url":837,"id":838,"edit":839},{"width":833,"height":834},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":42,"y":42,"zoom":43,"background":44},"The Barnes Foundation, BF576.",{"image":842,"title":846,"subtitle":851},{"dimensions":843,"alt":846,"copyright":847,"url":848,"id":849,"edit":850},{"width":844,"height":845},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":42,"y":42,"zoom":43,"background":44},"Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio. Gift of Joseph and Enid Bissett 1955.59",{"image":853,"title":857,"subtitle":862},{"dimensions":854,"alt":857,"copyright":858,"url":859,"id":860,"edit":861},{"width":855,"height":856},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":42,"y":42,"zoom":43,"background":44},"Photo credit: The Solomon R. Guggenheim Foundation \u002F Art Resource, NY",{"image":864,"title":868,"subtitle":873},{"dimensions":865,"alt":868,"copyright":869,"url":870,"id":871,"edit":872},{"width":866,"height":867},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":42,"y":42,"zoom":43,"background":44},"Image © The Metropolitan Museum of Art. Image source: Art Resource",{"image1":875,"label":7,"copyright":880},{"dimensions":876,"alt":835,"copyright":836,"url":877,"id":878,"edit":879},{"width":641,"height":763},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4e0c35f5-0dc0-41de-94c7-22cb7b1cbb82_3_2-2.jpg?auto=compress,format","ZCrkGhAAACEA8jb-",{"x":42,"y":42,"zoom":43,"background":44},[881],{"type":47,"text":882,"spans":883},"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":887,"alt":638,"copyright":7,"url":888,"id":889,"edit":890},{"width":142,"height":143},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fbfd24834-ef66-4ac5-84f3-b8f7ed9ab67f_Amedo+Modigliani+Image+Opengraph.jpg?auto=compress,format","ZK_8thIAACMAahhe",{"x":42,"y":42,"zoom":43,"background":44},[892,897,905],{"variation":60,"version":61,"items":893,"primary":894,"id":896,"slice_type":188,"slice_label":7},[],{"slides_per_view":7,"max_slides_count":7,"tag":895,"type":203,"title":451,"paralax":7},{"link_type":160},"carousel$76399f61-581f-4422-989a-c4d3a51b684f",{"variation":60,"version":61,"items":898,"primary":901,"id":904,"slice_type":188,"slice_label":7},[899],{"post":900},{"link_type":160},{"slides_per_view":7,"max_slides_count":7,"tag":902,"type":8,"title":903,"paralax":7},{"link_type":160},"Listen to audiocasts","carousel$454b3fee-0d33-4b7c-8484-8a1534e794eb",{"variation":60,"version":61,"items":906,"primary":909,"id":913,"slice_type":188,"slice_label":7},[907],{"post":908},{"link_type":160},{"slides_per_view":7,"max_slides_count":7,"tag":910,"type":911,"title":912,"paralax":7},{"link_type":160},"video","Discover more artists","carousel$f1aa84e6-dafc-432c-8410-d664d47c9613"]