亚美迪欧莫迪利安尼《两个女孩》伦敦佳士得.docx
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亚美迪欧莫迪利安尼《两个女孩》伦敦佳士得.docx
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亚美迪欧莫迪利安尼《两个女孩》伦敦佳士得
亚美迪欧·莫迪利安尼《两个女孩》(伦敦佳士得2015)
亚美迪欧·莫迪利安尼两个女孩Lesdeux
filles伦敦佳士得2015.2成交价758.65万英镑作品介绍Lesdeuxfillesisoneofonlyfiveknowndoubleportraits
paintedbyModiglianitohavebeenrecordedbyAmbrogioCeroniin
his1970catalogueraisonné.Throughouthisentireoeuvre,
Modiglianigenerallydedicatedhimselftotheisolatedfigure,
exploringnocompositionaldeviceotherthanasinglehumanbeing
viewedfacetoface.Forthemostpart,itwasenoughforthe
artist'sintenseobservationofindividualcharacterizationto
engagewithasinglemodel,yethisrareventuresintomultiple
figurearrangementsareremarkablefortheirinsightintohuman
relationshipsandtheenergycommunicatedbydifferentidentities.
OfModigliani'sfivedoubleportraits,twoareportraitsofbridal
couples,thehighlystylizedLesépouxof1915(formerlyinthe
collectionoftheMuseumofModernArt,NewYork,Ceronino.55)
andthecelebratedportraitofhisclosefriend,thesculptor
JacquesLipchitzandhiswifeBertha(1916,ArtInstituteof
Chicago,Ceronino.161).Theseworkscelebratetheunionbetween
womanandman,whilstModigliani'sotherdoubleportraitswould
addressthethemeofmotherandchild(Femmeassiseavecunenfant,
1919,Muséed'ArtModerne,Villeneuve-d'Ascq,Ceronino.334;and
Gitaneavecunenfant,1918,Ceronino.247,NationalGalleryof
Art,Washington)-picturesthatowemuchtoModigliani'sItalian
inheritanceandhisenduringloveoftheearlyRenaissancemasters.
Lesdeuxfillesisatenderandperceptivepaintingthatexplores
theconnectionbetweentwoyounggirls,possiblysisters,whom
Modiglianihasdescribedinarefinedvisuallanguagethatisboth
compellinglysubjectiveandintuitive.
SeveraloftheearlyliteraturereferencestoLesdeuxfilles
suggestthatthecompositionwaspaintedin1917whenModigliani
wasworkinginParis,includingArthurPfannsteil's1929monograph,
inwhichhedescribesthesittersas'twoflowersgrowingfromthe
pavingstonesofthebigcity'(op.cit.,p.119).However,the
paintinghassincebeenattributedto1918inpublicationsby
Ceroni,OsvaldoPataniandChristianParisotandisnowconsidered
tobepartofagroupofportraitsdedicatedtotheportrayalof
childrenthatModiglianipaintedwhilsthewaslivingandworking
intheSouthofFrance(Ceroni,op.cit.,p.100).Modigliani
travelledtotheC?
ted'AzurinMarch1918andremainedtherefor
overayear.ThedeprivationsoftheFirstWorldWar,theshortage
offoodandcoalhadweakenedthepainter'shealthandwhenthe
bombardmentofParisbegan,hisdealerLéopoldZborowskidecidedto
followthevastnumbersfleeingtheperilouscapitalfortheSouth,
takinghiscontingentofartistsandtheirclosestcompanionswith
him.Cha?
mSoutine,TsuguharuFoujitaandFernandeBarreywereall
includedinZborowski'sentourage,andModiglianiwasaccompanied
byhispregnantmistress,JeanneHébuterneandhermother.亚美迪欧·莫迪利安尼两个女孩Lesdeux
filles局部PartofZborowski'splaningoingtotheSouthofFrancewas
tosellworks,andespeciallypicturesbyModigliani,totherich
clientelethathewassurestillhauntedthegrandandfashionable
hotelsinNiceandCagnes,havingwitnessedthemonapriorvisit.
However,thisplancametonought,andhebarelymanagedtoscrape
togetherenoughtoexistupon--hiscostsonlyincreasedwhenthe
variouselementswithinthegroupinsisteduponstayingunder
differentroofs.Thislackoffortunehadadirecteffectonthe
paintingsofModigliani,especiallyintermsofcontent,forthe
portraitcommissionsthatZborowskihadoptimisticallyassumed
wouldmaterialisefailedtodosoandhewasnolongerabletopay
forprofessionalmodelsashehaddoneinParis.Asaconsequence,
Zborowski'swifeandJeannesatformanyofModigliani'spictures,
butwithtensionsmountingwithinthefamilygroup,hefoundit
increasinglynecessarytorelyonthelocalpeoplearoundhim.This
isalmostcertainlyoneofthereasonsthatLesdeuxfilleswas
painted.Yet,itwasnotonlythelackofmodelsthatledhimto
paintsomanypicturesofyoungpeopleduringthisperiod.Inpart,
itmayhavebeentheprospectofimminentfatherhoodthatincreased
hisinterestinthemasasubject,aswellashisdesiretocapture
theirengagingcharactersandpurityofspirit.
Modigliani'sintelligentawarenessofhissitter's
personalitiesistheresultofhislong-standingsearchfora
visualwindowintothesoulandhewasclearlyinterestedinthe
personaofthebrunettegirlinthisimageashealsodepictedher
inasisterpicture,Fillettedeboutentabliernoir(1918,
Kunstmuseum,Basel,Ceronino.241).BothFillettedebouten
tabliernoirandtheslightlylargerLesdeuxfilleshavebeen
exhibitedtogetheronnumerousoccasionstounderlinetheirclose
relationship,includingexhibitionsinParisandMarseillein1958
andDüsseldorfandZurichin1991.Inhischaracteristicstudyof
anisolatedmodelrenderedinthree-quarterlength,Modigliani
depictsthedelicatelyfeatured,dark-hairedgirlstandinginan
interiorthatsharesthesubtleandmasterfullyhandledsuffusion
ofgreen,greysandochrehues.Thispaintingcontainsanentirely
differentcompositionaldynamictotheasymmetryofLesdeux
filles,withitsgrid-likestructureprovidedbythecounterbalance
ofthehorizontallinesofthechestofdrawersandthestrong
verticalityofthegirl'spose.Modiglianienhanceshersenseof
childishnessandvulnerabilityinFillettedeboutentabliernoir
bydepictingherwithherhandshanginglooselybyhersidesand
herheadtiltedataninquisitiveandsomewhatawkwardangle.亚美迪欧·莫迪利安尼两个女孩Lesdeux
filles局部InLesdeuxfillesthissamegirlappearsolder,witha
seductivelyheightenedcolourationandsophisticatedhairstylethat
contrastswiththenaturalandrelaxedappearanceoftheyounger
child.Thisjuxtapositiongrantsanalmostmaternalaspecttothe
oldergirlandcreatesaremarkablysensitivecharacterizationof
thetransitionfromchildhoodtothethresholdofwomanhood.
Althoughtherelationshipbetweentheseyoungmodelsisunknown,it
appearsModiglianideliberatelychosethemfortheiropposing
characteristics;thefairhair,blueeyesandcleanwhitepinafore
oftheyoungergirlcontrastingwiththeelder'sdarkcolouringand
blacksmock.Thissamesmock,withitsdiscreetembroideryand
scratched-inseamworkisalsowornbyadifferentmodelinabust
portraitfromthisperiod,indicatingthismaywellhavebeena
localschooluniform(Jeunefilleblondeenbuste,1919,Ceronino.
296).Whilstthemodelinthelaterportraitisdepictedwithblank
voidsforeyes,Modiglianiclearlydefineshissitter'sirisesin
thepresentworktolendthemanengagingpresencethatconveysa
truesenseofthegirls'shy,yetcandidnatureandperhapseven
theircuriositywiththeartistandtheartisticprocess.
Modigliani'sempathytowardshisunknownsittersduringthis
periodhasbeenevocativelydescribedbyhisdaughter,Jeanne
Modigliani,whopossiblyreferstoLesdeuxfillesasbeingan
imagefromParis,indicatingtherewasstillsomedebateoverits
dateatthetime:
'Atthistime,Modigliani'sattitudetowardsand
thedepictionofhismodelsbecamecalmerandmorepeaceful.The
apprentice,theporter'sson,themaidinCagnes,littleMaria,the
twogirlsinParis,allenterModigliani'spictorialworldwitha
saddignity.Theirinteriorvision,capturedinaprivatedream,
accentuatestheirsolitudeandatthesametimeenshrinestheir
moralitywithapoetichalo.Theirstatusinlifeiscertainlynot
ahappyone,buttheypossessnobilityandmoralvalues.Theyare
themostconvincingwitnessesofthebeautyandgoodnessof
mankind'(J.Modiglianicitedin'ModiglianisansLégende',exh.
cat.,AmedeoModigliani,1884-1920,MuséeNationald'ArtModerne,
Paris,1981,p.89).亚美迪欧·莫迪利安尼两个女孩Lesdeux
filles局部Intheirsubtlepsychologicalinsight,pictureslikeLesdeux
fillesoweasubstantialdebttotheportraitsofCézanne.
ModiglianigreatlyadmiredthepicturesofCézanneandhismoveto
theMidi,wheretheoldermasterhadpaintedthroughouthislife,
mayhaveintensifiedModigliani'sengagementwithhiswork.
Notably,manyofCézanne'sportraitsfromthe1890sdepictchildren
andpeasantsandarerenderedwiththesamesympathyandpassive
monumentalitythatModiglianibringstohissittersageneration
later.ThecomplexsenseofspaceandmassinCézanne'sportraits
hadadeepandlastinginfluenceonModigliani'sownportrait
style,asdidtheplanardistortionsoftheprimitivemasksheso
admired.Thesevisualreferencescontributetotheex-pressive
energyandimbalanceinLesdeuxfilles,particularlyinthe
renderingoftheyoungergirl'sface,whichfeaturesa
multidirectionalanalysisofspacesimilartothatusedbythe
Cubists.Thisdeliberatedistortionisusedtoheightenthetension
betweenthetwomodels,contrastingasenseofmovementcompatible
withtheunsettledtemperamentofayoungchildwiththeserenely
femininenatureoftheoldergirltocreateanimagethat
powerfullyevokestheeventualpathtomaturity.
LesdeuxfillesclearlydisplaysModigliani'svirtuosofeeling
forpaint.Hisobsessionforrefininghissubjectsintosimple,
interlockingcurvilinearformsisevidentinthepentimentivisible
belowthehandsoftheyoungerchild,wherepencillineschartout
hismethodofperfectingthecomposition.Modigliani'shandlingof
pigmentvariesacrossthecanvas,fromthethinscumbledbrushwork
usedtodiffusethevariegatedhuesofthebackgroundtothehighly
viscoustexturesonthefiguresandchair,thepaintingmanifestsa
passionateinvolvementwith
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