A groundbreaking six-volume catalogue raisonné documenting the entire body of paintings made by Amedeo Modigliani
The result of twenty-seven years of work accomplished in collaboration with an international team of researchers and scientists, Marc Restellini showcases the entire body of paintings made by Amedeo Modigliani (1884–1920).
Available worldwide in a numbered limited edition of 1,250 copies, the catalogue raisonné, offers an unprecedented level of detail and precision in the provenance of each painting and is the largest compilation of scientific data ever created on Modigliani’s oeuvre. Volume 1 gives a full explanation of the methodology, and Volume 2 provides a full chronology of Modigliani’s life and body of work. Volumes 3–5 contain Modigliani’s paintings, each represented by a full-page reproduction accompanied by complete provenance, exhibition history, and bibliography. Volume 6 comprises all the indexes concerning the data used in the catalogue, as well as a technical and iconographic index. This set reveals the depths of Restellini’s research with beautiful illustrations throughout.
Volume 1 496 pp
Volume 2 88 pp
Volume 3 380 pp
Volume 4 468 pp
Volume 5 442 pp
Volume 6 144 pp
Each volume 310 × 245mm
Historiography and Methodology
Introduction: Creating a Modigliani Catalogue raisonné: Foundations, Doctrines, Methodologies and Assessments
1 The Journey of Amedeo Modigliani’s Paintings: A Century in Statistics
2 Descriptive and Comparative Study of the Catalogues Raisonnés of Amedeo Modigliani: Historical View of the Cataloguing of the Artist’s Paintings
3 Provenance Research and Hierarchy of Sources: A Documentary Study of Amedeo Modigliani’s Painting:
4 Recognizing Amedeo Modigliani’s Style: A Statistical and Stylistic Exploration of the Visual and Iconographic Characteristics of the Paintings in Each Period
5 Establishing the Artist’s Techniques and Materials A Scientific Analysis of Amedeo Modigliani’s Paintings Volume
Chronology of the 424 oil paintings by period
1 Youth: Arrival in Paris, 1906–7
2 Paul Alexandre, 1907–14
3 From Caryatids to Portraits, 1914–15
4 Cubist Experimentation, 1915–16
5 Hotel Sunny, 1916–17
6 Rue Joseph Bara, 1917–18
7 The South of France, 1918–19 Cagnes-sur-Mer and Nice
8 Rue de la Grande Chaumière, 1919–20
Volume 3
1906–16 Paintings 1–121
1 Youth: Arrival in Paris, 1906–7
2 Paul Alexandre, 1907–14
3 From Caryatids to Portraits, 1914–15
4 Cubist Experimentation, 1915–16
1916–18 Paintings 122–278 and add.
1918–19 Paintings 279–421
5 Hotel Sunny, 1916–17
6 Rue Joseph Bara, 1917–18
7 The South of France, 1918–19 Cagnes-sur-Mer and Nice
8 Rue de la Grande Chaumière, 1919–20
List of Paintings Institutions and Private Collections
Exhibitions
Publications
Index of Titles
Technical and Iconographical Index
Index of Names Photo Credits
sources of primary importance. They are identified by an asterisk placed next to the name of the source, indicated in the footnotes of the provenance, in the exhibition histories, and in the historical titles (source: Saint Louis Art Museum*).
3. Unverifiable pieces of information, drawn from theories commonly accepted by art historians and/or art dealers, have nevertheless been included due to their consistency with the rest of the provenance and appear in italics (Léopold Zborowski, Paris).
Sources of Primary Importance Above all, sources of primary importance comprise the documentation closest to the artist. Unfortunately, Amedeo Modigliani did not leave behind any diary, memoirs, or inventories of his artwork. The only known texts in the artist’s hand are letters found in the various archives of his entourage, as well as a few poems written on the front or back of his drawings. His daughter, Jeanne Modigliani, transcribed the artist’s letters found in the family archives in her book Modigliani: Man and Myth 255 Moreover, the Livre de raison (which can be translated as “Family Journal”),
July–September : First return to Livorno, where he paints Le Mendiant de Livourne (The Beggar of Livorno, rp 21). Fall: Resides at 7 place Jean-Baptiste Clément (painting), 14 Cité Falguière (sculpture), 7 rue du Delta (socializing). Close relationship with the poet Constantin Lahovary-Soutzo.38 volume 3 Paul Alexandre 1907–14 2 paul alexandre: 1907–14
Twenty-fourth Salon des Artistes indépendants Modigliani shows six pieces (includ ing La Juive The Jewish Woman, rp 6). Paul Alexandre introduces Modigliani to his family; he paints portraits of several of them [rp 11, 12, 13].29 November 28: Maud Abrantès departs for the United States.
1909 February: Modigliani declines to add his signature to Filippo Tommaso Marinetti’s Futurist Manifesto 31 March / April: Resides at 14 Cité Falguière.32 March 25: Visits the Salon des Indépendants March–May: Paul Alexandre makes a study trip to Vienna. He corresponds with his brother Jean, who is working with Modigliani in Paul’s absence. Modigliani paints Portrait de Jean Alexandre
[rp 19], L’Amazone (The Equestrian, rp 20) and works on his portraits of “Little Jeanne” [rp 24, 25].34 April 26–May 8: Modigliani probably views the Élie Nadelman exhibition at the Galerie Druet.
La collection Jonas Netter. Modigliani, Soutine et l’aventure de Montparnasse Pinacothèque de Paris, Paris, France, April 4–September 9, 2012, no.31 Modigliani.
Primitivismus Albertina, Vienna, Austria, September 17, 2021–January 9, 2022, no. DALEVÈZE Jean, Modigliani, Figures Lausanne, International Art Book, 1971, p.9 RESTELLINI Marc, “Pour une relecture de l’œuvre,” Connaissance des arts, Hors-série: Modigliani, l’ange au visage grave no.185, 2002, pp.40–53, p.42 Marc (ed.), Modigliani, l’ange au visage grave Milan, Skira, Paris, Seuil, 2002, no.13, p.145 Leone (ed.), Modigliani Milan, Skira-Rizzoli, 2004, p.101 Marc, “Amedeo Modigliani 1884–1920,” in Marc, La Collection Jonas Netter. Modigliani, Soutine et l’Aventure de Montparnasse Paris, Pinacothèque de Paris, 2012, no.31, p.111 BOUHOURS Jean-Michel (ed.), Modigliani e la Bohème di Parigi (exh.cat.
PATANI Osvaldo, Amedeo Modigliani. Catalogo Generale. Dipinti Milan, Leonardo, 1991, no.89, p.112 PARISOT Christian, Modigliani Paris, Éditions Pierre Terrail, 1991, p.65 NARBAÏTS Xavier, “La loi des enchérisseurs,” Connaissance des Arts no.503, February 1994, pp.117–18, p.117 PARISOT Christian, Amedeo Modigliani 1884–1920. Itinéraire anecdotique entre France et Italie, Paris, ACR Édition Internationale, 1996, p.43 KRYSTOF Doris, Amedeo Modigliani 1884–1920. La poésie du regard, Cologne, Taschen, 1996, p.43 “Figures, signatures,” Connaissance des Arts no.535, January 1997, p.19 PARISOT Christian, Amedeo Modigliani 1884–1920.
LaM, February 26–June 5, 2016; Budapest, Hungarian National Gallery, June 28–October 2, 2016; Helsinki, Ateneumin Taidemuseo, October 28, 2016–February 5, 2017), Paris, Gallimard, Villeneuve d’Ascq, LaM, 2016, no.23, p.78 DUFRÊNE Thierry, Modigliani Paris, Citadelles & Mazenod, 2020, p.126 Paolo Edoardo (ed.), Modigliani ebreo livornese. Storia familiare e formazione di un genio Atti del Convegno internazionale di studi, Livorno, January 22–23, 2020, Livorno, Edizioni Erasmo, 2022, p.22
TITLES Portrait du peintre Pablo Picasso sources: Brussels, 1933*; Basel, 1934* Portrait de Pablo Picasso source: Ceroni, 1972*
de Lunia Czechowska,” Milan, Edizioni del Milione, Monographies des artistes italiens modernes, 1958, no.64 CARTIER Jean-Albert, “Modigliani, l’homme, l’artiste,” Le Jardin des Arts no.44, May 1958, pp.413–22, p.418 GAUTHIER Maximilien, “Le vrai visage de Modigliani,” Les Nouvelles littéraires, April 17, 1958, p.6 “Notable Works of Art Now on the Market,” The Burlington Magazine, vol.100, supplement to no.669, December 1958, n.p., pl.XXX Jean-Albert, “La première grande rétrospective Modigliani recrée
1928, p.234 Arthur, Modigliani [including the Catalogue présumé], Paris, Marcel Seheur, L’Art et la vie, 1929, n.p. (between pp.112 and 113), p.22 of the Catalogue présumé EINSTEIN Carl, Die Kunst des 20. Jahrhunderts. Propyläen-Kunstgeschichte Berlin, Propyläen-Verlag, 1931, n.p. HENNUS M. F., “Amedeo
PUBLICATION HISTORY SCHWARZ Mark, Amedeo Modigliani Paris, Le Triangle, 1927, p.9 RAYNAL Maurice, Anthologie de la Peinture en France de 1906 à nos jours Paris, Montaigne, 1927, p.240 Les Arts à Paris no.15, May 1928, p.27 PFANNSTIEL Arthur, Modigliani [including the Catalogue présumé], Paris, Marcel Seheur, L’Art et la vie, 1929, n.p. (between pp.114 and 115), p.38 of the Catalogue présumé GEORGE Waldemar, La Grande Peinture contemporaine à la collection Paul Guillaume Paris, Éditions des Arts à Paris, 1929, p.141 GEORGE Waldemar, “La grande peinture contemporaine à la collection Paul Guillaume,” La Renaissance de l’art français et des industries de luxe no.4, April 1929, pp.173–85, p.182 BASLER Adolphe, “Modigliani,” Kunst und Künstler vol.9, Berlin, Bruno Cassirer, 1930, pp.355–63, p.361 BASLER Adolphe, Modigliani Paris, Éditions G. Crès et Cie, 1931, pl.21 NEUGASS Fritz, “Amedeo Modigliani,” L’Amour de l’Art, no.5, May 1931, pp.190–201, no.33, p.196 RAYNAL Maurice, Modern French Painters New York, Tudor Publishing & Co., 1934, n.p. NEUGASS Fritz, “Les sources de l’art d’Amedeo Modigliani,” L’Art et les artistes, 1934, p.333 APOLLONIO Umbro, “Amedeo Modigliani 1884–1920,” Cahiers d’Art no.1, 1950, pp.166–87, p.170 JEDLICKA Gotthard, Modigliani, 1884–1920 Erlenbach, Eugen Retsch Verlag, 1953, p.35 PFANNSTIEL Arthur, Modigliani et son œuvre. Étude critique et Catalogue Raisonné Paris, La Bibliothèque des Arts, Souvenirs et documents, 1956, no.241 Ambrogio, Amedeo Modigliani, peintre, suivi des “Souvenirs de Lunia Czechowska,” Milan, Edizioni del Milione, Monographies des artistes italiens modernes, 1958, no.103 VERONESI Giulia, “Cento dipinti di Modigliani,” Emporium vol.CXXVIII, no.765, September 1958, pp.99–105, p.104 REY Jean-Dominique, “Que voir cet été en province et à Paris?,” Le Jardin des Arts no.140–1, July–August 1966, pp.108–12, p.111 GINDERTAEL Roger van, Modigliani e Montparnasse Milan, Fratelli Fabbri Editori, 1969, pl.29, p.55 GÉZA Csorba, Modigliani, Budapest, Gorvina Kiado, 1969, p.36 PONENTE Nello, Modigliani Paris, Flammarion, 1969, p.27
Paris, Nouvelles Éditions Françaises, 1975, n.p. HUBBARD Helen, Modigliani and the Painters of Montparnasse Lamplight Collection of Modern Art, New York, Lamplight Publishing, 1975, pl.29 ZURCHER Bernard, Modigliani Paris, Fernand Hazan, 1980, p.48 25 Great Masters of Modern Art: Modigliani Tokyo, Kodansha, 1980, no.51, p.121 “Modigliani, l’oubli réparé,” Connaissance des Arts no.349, March 1981, pp.36–43, p.38 LASSAIGNE Jacques, Tout Modigliani. La peinture Paris, Flammarion, 1982, no.258, p.74 HALL Douglas, Modigliani (2nd ed.), New York, Watson-Guptill, 1984, p.40 ROY Claude, Modigliani, Paris, Nathan, 1985, p.115 CASTIEAU-BARRIELLE Thérèse, La vie et l’œuvre d’Amedeo Modigliani Paris, ACR Édition, 1987, p.190 CABANNE Pierre, Guide des musées de France Paris, Bordas (3rd ed.), 1987, pp.266, 547 HOOG Michel (ed.), ”Les Grandes Baigneuses” de Picasso (exh.cat.Paris, Musée de l’Orangerie, November 22, 1988–March 6, 1989), Paris, Réunion des Musées Nationaux, 1988, p.45 Colette, GUICHARNAUD Hélène, and Michel, Musée de l’Orangerie: Catalogue de la collection Jean Walter et Paul Guillaume Paris, Réunion des Musées Nationaux, 1990, no.64, p.149 PARISOT Christian, Modigliani. Catalogue raisonné. Peintures, dessins, aquarelles vol.II, Livorno, Graphis Arte, 1991, no.40/1918, p.224 PATANI Osvaldo, Amedeo Modigliani. Catalogo Generale. Dipinti Milan, Leonardo, 1991, no.271, p.274 GIRAUDON Colette, Paul Guillaume et les peintres du XXe siècle, de l’art nègre à l’avantgarde Paris, La Bibliothèque des Arts, 1993, p.46
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