Medal Painter Sculptor Amedeo Modigliani Psyche Venus Sc Loekie Metz

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Seller: artistic.medal ✉️ (4,944) 100%, Location: Strasbourg, FR, Ships to: WORLDWIDE, Item: 186364733227 Medal Painter Sculptor Amedeo Modigliani Psyche Venus Sc Loekie Metz. _ shot 39_263 Bronze medal from the Paris Mint (cornucopia hallmark from 1880). Medal struck in 1980. Some minimal traces of handling, small patina defects. Engraver/artist : Loekie Metz . Dimension : 70mm. Weight : 229 g. Metal : bronze. Hallmark on the edge (mark on the edge)  : cornucopia + bronze + 1980. Quick and neat delivery . The support is not for sale. The stand is not for sale . Amedeo Clemente Modigliani (/a.meˈdɛ.o kle.ˈmɛn.te mo.diʎ.ˈʎa.ni/a), born July 12, 1884 in Livorno (Italy) and died January 24, 1920 in Paris, is a painter and sculptor Italian attached to the School of Paris. In fragile health, Amedeo Modigliani grew up in a bourgeois but penniless Jewish family which, on his mother's side at least, supported his early vocation as an artist. His years of training took him from Tuscany to Venice via the Mezzogiorno, before settling in 1906 in Paris, then the European capital of the artistic avant-gardes. Between Montmartre and Montparnasse, closely linked to Maurice Utrillo, Max Jacob, Manuel Ortiz de Zárate, Jacques Lipchitz, Moïse Kisling and Chaïm Soutine, “Modi” became one of the figures of bohemia. Moving around 1909 to sculpture - his ideal - he abandoned it around 1914 due in particular to his pulmonary problems: he returned exclusively to painting, produced a lot, sold little, and died at the age of 35 of tuberculosis contracted in his youth. He therefore embodies the cursed artist who immersed himself in alcohol, drugs and stormy affairs to drown his unhappiness and his misfortune. If they are not unfounded, these clichés - reinforced by the suicide of his companion Jeanne Hébuterne (1898-1920), pregnant, the day after her death - long replace a biographical reality difficult to establish as well as a objective study of the work. Jeanne Modigliani (1918-1984), daughter of the couple, was in the 1950s one of the first to show that her father's creation was not marked by his tragic life and even evolved in reverse, towards a form of serenity. Modigliani left some 25 stone sculptures, mainly women's heads, executed in direct carving perhaps in contact with Constantin Brâncuși and evoking the primitive arts that the West was then discovering. A stylized sculptural aspect is found precisely in his paintings, which are infinitely more numerous (around 400) although he destroyed many of them and their authentication is sometimes difficult. He essentially limited himself to two major genres of figurative painting: the female nude and especially the portrait. Marked by the Italian Renaissance and classicism, Modigliani nevertheless draws from the currents stemming from post-impressionism (fauvism, cubism, early abstract art) formal means to reconcile tradition and modernity, pursuing his quest with fundamental independence of timeless harmony. His continuous work of purifying lines, volumes and colors has made his broad and sure line, all in curves, recognizable among all, his drawings of caryatids, his sensual nudes in warm tones, his frontal portraits with shapes stretched up to deformation and often absent gaze, as if turned inwards. Centered on the representation of the human figure, his aesthetic of contained lyricism made Modigliani, post mortem, one of the 20th century painters most appreciated by the public. Considering that she did not mark the history of art in a decisive way, critics and the academic world were more slow to recognize him as a leading artist. Biography Black and white and side photo of a stone house facade with rounded door and window blinds Birthplace of Modigliani (photo from 1903)N 1. Amedeo Modigliani, who rarely confided, left letters but no diary1. That of his mother and the biographical notice she wrote in 1924A 1 constitute partial sources. As for the memories of friends and relations, they may have been altered by forgetfulness, nostalgia for their youthM 1 or their vision of the artist: André Salmon's monograph in 1926 in particular is at the origin of "all the Modigliani mythology 2”. Little attracted by her father's work as an art historian, Jeanne Modigliani endeavored to retrace his real career "without the legend and beyond the family distortionsM 3" due to a sort of condescending devotion to the disappearedb,M 4. The biography of which she delivered a first version in 1958 contributed to reorienting research on the man, his life and his creation2,3. Youth and training (1884-1905) Amedeo Clemente was born in 1884 in the small mansion of the Modigliani family, via Roma 38, in the heart of the port city of LivornoP 1. After Giuseppe Emanuele, Margherita and Umbertoc, he is the last child of Flaminio Modigliani (1840-1928), a businessman facing reversals of fortune, and Eugénie née Garsin (1855-1927), both from the Sephardic bourgeoisieP 2. Amedeo is a child in fragile health, but his sensitive intelligence and his lack of interest in school persuade his mother to accompany him from adolescence in an artistic vocation N 1 which will quickly make him leave the narrow horizon of his hometown N 2. Two families who are completely opposed Sepia photo of a fairly corpulent man in a three-piece suit and a woman Maybe an artist? » Black and white photo of ten boys sitting in three rows 1895, Guerazzi high school in Livorno: Amedeo is seated in the 1st row, in the center N 6. Very close to his mother, “Dedo” had a pampered childhood and, notwithstanding the material difficulties, his desire to become an artist did not give rise to any conflictK 1, contrary to what André SalmonM 11 thought. Eugénie Garsin settles with her children in a house on via delle VilleN 6 out of prudence put in her nameP7, and moves away from her in-laws and her husbandN7 who left to rebuild in SardiniaM 12. She soon welcomes her widowed father - a fine scholar embittered to the point of paranoia by his commercial setbacks but adoring his grandsonM 10 - and two of her sisters: Gabriella, who takes care of the houseworkM 13, and Laura, mentally fragileM 11,d. To supplement her income Eugénie gives French lessons then opens a small private school with Laura P7, where Amedeo learns to read and write N6 very early. Supported by her intellectual friends M 14, this stoic mistress M 8 who loves writing also launches into translation (poems by Gabriele D'Annunzio) and literary criticism M 12, K 1. Legend has it that Modigliani's vocation was suddenly declared in August 1898, during a serious typhoid fever with pulmonary complications: the teenager, having never touched a pencil, would have dreamed of art and masterpieces. unknownK 1, the feverish delirium releasing his unconscious aspirations. It is more likely that he simply reaffirmed them, because he had already expressed his taste for painting No. 8. In 1895, when he had suffered from serious pleurisy, Eugénie, who found him a little capricious – between shy reserve and bursts of exaltation or angerM 15 – had wondered if an artist would not one day emerge from this chrysalisM 16 ,N 6. The following year he asked for drawing lessonsM 17 and around thirteen, on vacation with his father, produced a few portraitsP 8. Introduced for a long time to Hebrew and the TalmudN 6, Amedeo is delighted to make his Bar-mitzvahM 16 but appears neither brilliant nor studious in classP 9: not without concern his mother lets him leave high school for the Academy of Fine ArtsN 9 — thereby ending his quarrel with the Modigliani, who condemn his activities as well as his support for his elder, a socialist activist in prisonM 12. From Livorno to the Mezzogiorno After two years of study in Livorno, Modigliani made a one-year trip to the SouthA 2 for his health and his artistic culture. Painting showing sailing ships and a corner of a quay G. Micheli, In the port of Livorno, oil on canvas, 1895N 10. At the Fine Arts of Livorno, Amedeo is the youngest student of Guglielmo MicheliK 1, landscape painterM 18 trained by Giovanni Fattori at the MacchiaioliN 10 school: referring to Corot or Courbet, they broke with academicism to get closer to reality and advocate painting on the pattern, color rather than drawingN 11, contrasts, a light touchK 2. The teenager meets, among others, Renato Natali, Gino Romiti, who awakens him to the art of the nude, and Oscar Ghiglia, his best friend despite their age gap. He discovered the major artistic movements, with a predilection for Tuscan art and Italian Gothic or Renaissance painting as well as Pre-Raphaelitism. He seeks his inspiration more readily in working-class neighborhoods than in the countryside, and rents a workshop with two comrades where it is not excluded that he contracted KochP 10 bacillus. These two years at Micheli will have little influence on his career4 but Eugénie notes the quality of his drawingsM 11, the only vestiges of this periodN 7. Panel carved at the bottom and high relief representing two trees and four men, one of whom is kneeling Camaino, Funerary Monument of Cassone della Torre (detail), 1318, Basilica of Santa Croce in Florence. Amedeo is a courteous boy, shy but already seductive M 19. Nourished by ardent discussions at his mother's house5, he read Italian and European classics at random. As much as for Dante or Baudelaire, he is enthusiastic about Nietzsche and D'AnnunzioM 19, the mythology of the “Superman” undoubtedly meeting his personal fantasiesR 1 — Micheli kindly nicknames him thus4. From these readings comes the repertoire of verses and quotations which will earn him his reputation in Paris, perhaps a little overratedM 14, of great eruditionA 3. This “metaphysical-spiritual” intellectual with mystical tendencies A 4, on the other hand, remained indifferent throughout his life to the social and political question, or even to the world around him A 5. In September 1900, suffering from tuberculous pleurisy, he was recommended to rest in the open air of the mountains P 10. Requiring financial assistance from her brother Amedeo Garsin, Eugénie preferred to take the budding artist on his Grand Tour in Southern ItalyN 12. At the beginning of 1901 he discovered Naples, its archaeological museum, the ruins of Concerning his multiple amorous conquests, none seem to have lasted or really mattered to him during this period30. They are essentially models, or young women whom he meets in the street and persuades to let themselves be painted, sometimes perhaps without a second thoughtP 25. On the other hand, he maintained a tender friendship with the Russian poet Anna Akhmatova, whom he met during the 1910 carnival while she was on her honeymoon31, and who returned to Paris between May32 and July 191133: we do not know if their relationship went beyond the exchange of confidences and letters34, the discussions on poetry35 or modern art36 and the endless walks in Paris37 that she later recalled with emotion31, but he would have made around fifteen drawings of her, almost all of them lostP 36. The painting in question Painted bust portrait of a woman in three-quarter view in dark chromaticism La Juive, 1908, oil on canvas, 55 × 46 cm, coll. private. Modigliani went through several years of questioning: even his Venetian experience had not prepared him for the shock of post-impressionismM 32. Half-length painted portrait of a three-quarter-faced woman with a long, bright fitted jacket against a dark background Woman with a yellow jacket - The Amazon, 1909, oil on canvas, 92 × 65 cm, coll. private. In Montmartre he painted less than he drew13 and fumbled in the imitation of Gauguin, Lautrec, Van Dongen, Picasso or othersM 32. Marked at the Salon d'Automne of 1906 by the pure colors and simplified forms of GauguinP 37, he was even more so the following year by a retrospective on Cézanne38, whose principles he experimented7: La Juive borrows from CézanneM 38 as from GauguinK 9 or the “expressionist39” line of Lautrec. Modigliani's artistic personality was, however, sufficiently formed for him not to join any revolution upon arriving in Paris: he criticized Cubism24 for a disembodied formalismA 14 and refused to sign the futurism manifesto submitted to him by Gino Severini in 191040,N 24. Regardless of these influences38, Modigliani wishes to reconcile tradition and modernity6. His links with the artists of the still nascent School of Paris — “each in search of his own style41” — encouraged him to test new processes, to break with the Italian and classical heritage without denying itN 25 and develop a unique synthesis5. It aims for simplicity, its outline becomes clearer, its colors strengthen7. His portraits demonstrate his interest in the personality of the modelK 9: Baroness Marguerite de Hasse de Villars refuses the one he made of her side-saddle, no doubt because, deprived of her red jacket and her opulent frame, she displays a certain arroganceK 10,N 26. Although he hardly talks about his work22 or his pictorial conceptions42, Modigliani sometimes expresses himself on art with an enthusiasm which, for example, earns the admirationK 9 of Ludwig Meidner: “Never before have I heard a painter speak of beauty with such ardorN 21. » Paul Alexandre pushed his protégé to participate in the collective exhibitions of the Society of Independent Artists and to present at the Salon of 1908P 38 a drawing and five canvases7: his chromatism and his concise line, personal without radical innovation, received a mixed receptionN 27. He only produced between six and eighteen paintings the following year, painting having taken second place for himP 39; but the six he presented at the salon in 1910 were noted, Le Violoncelliste in particular, whose Cézannian side was appreciated by Guillaume Apollinaire, Louis Vauxcelles and André SalmonP 40. Two stays in Livorno Modigliani returned in 1909 and 1913 to his native country and city: uncertainties remain about what happened there. Black and white photo of a man in shirt sleeves, posterior and left foot on a table, scarf around his neck, cigarette in hand In Florence in 1909N 26. In June 1909, his aunt Laura Garsin, visiting La Ruche, found him in poor condition and poorly housed: he therefore spent the summer with his mother, who spoiled him and took care of him while Laura, “scarred alive, like himP 42", associates him with his philosophical worksM 39. It is different with old friends. Amedeo judges them to be encrusted in a too wise commissioned art, they do not understand what he tells them about the Parisian avant-gardesP 43 nor the “distortions” of his own paintingM 40: slanderous, envious perhaps, they give him the cold shoulder at the brand new Caffè Bardi on Place CavourN 2. Only Ghiglia and Romiti remain loyal to him, who lends him his workshop P 43. Modigliani produced several studies and portraits, including The Beggar of Livorno, inspired both by Cézanne and a small 17th century Neapolitan painting, and exhibited at the Salon des Indépendants the following year M 41. It is probable that Modigliani's first attempts to sculpt the stone date from this stay, his older brother helping him. Although it is possible that he already encountered it at the end of December 1916N 37.62, it was in February 1917 , perhaps during the carnival, that Modigliani seems to have fallen in love with this 19-year-old student from the Colarossi academy, who is already asserting herself in a painting inspired by FauvismM 60. She herself is amazed that this painter, 14 years her senior, is courting her and is interested in what she does P 72. Black and white photo of a man sitting facing the front in a three-piece corduroy suit, in front of a table, some paintings on the wall Amedeo in the workshop at 8 rue de la Grande-Chaumière. Her parents, petty-bourgeois Catholics supported by her landscape watercolorist brother, were radically opposed62 to this affair of their daughter with a failed, poor, foreign and sulphurous artistP 73. She nonetheless braved her fatherN 37 to follow Amedeo into his hovel then settle down permanently with him in July 1917M 61: convinced like others that she would be able to rescue her friend from his suicidal spiralN 38, Zborowski provided them with a studio rue de la Grande-ChaumièreN 37. Small, with reddish-brown hair and a very pale complexion which earned her the nickname "Coconut" N 32, Jeanne has light eyes, a swan's neck N 37, the appearance of an Italian or Pre-Raphaelite Madonna: she surely symbolizes for Modigliani luminous grace, pure beauty. All those close to them remember his shy reserve63 and his extreme, almost depressive sweetnessK 24. From her lover, physically worn out, mentally degradedN 37, more and more unpredictable, she bears everything64: because if he “can be the most horribly violent of men, [he] is also the most tender and the most torn65”. He cherishes her like no other before and, not without machismo, respects her like a wifeP 74. He hides her a little M 62, treats her with consideration when they dine out but then sends her away, explaining to Anselmo Bucci: “The two of us go to the café. My wife goes home. Italian style. Like we do at home N 39. » He never depicted her nudeP 74 but left 25 portraits of herK 25 which, like love lettersR 3, are among the most beautiful of his workN 37. Apart from the Zborowski couple, the young woman was almost Modigliani's only support during these years of torment66 against the backdrop of the dragging war. Consumed by illness, alcohol - one drink is now enough for him to get drunk -, money worries and the bitterness of being unrecognized, he shows signs of imbalance, for example becoming angry if someone one disturbs him while he worksP 75. It is also not excluded that the painter suffered from schizophrenic disorders hitherto masked by his intelligence and his wit: his unhealthy tendency towards introspection, the incoherence of certain of his letters, his behaviors would go in this direction. unsuitableAt 25, a loss of contact with reality which makes him refuse any food work, such as when he is offered a job as an illustrator at the satirical newspaper L'Assiette au BeurreA 5. Jeanne and Amedeo nevertheless seem to live without storms67: after the disorders of wandering and his affair with Béatrice Hastings, the artist finds a semblance of rest with his new companion, and “his painting is illuminated with new tones48” . He was nevertheless very disturbed when she became pregnant in Mars 1918P 76.     Bust painting of a woman with her hair up and a large necklace     Portrait of Jeanne Hébuterne with a necklace, 1917, oil on canvas, 56 × 38.5 cm, coll. private.     American plan painting of a young woman seated with her hands in front of her, head tilted to her right     Jeanne Hébuterne seated, 1918, In September 1900, suffering from tuberculous pleurisy, he was recommended to rest in the open air of the mountains P 10. Requiring financial assistance from her brother Amedeo Garsin, Eugénie preferred to take the budding artist on his Grand Tour in Southern ItalyN 12. At the beginning of 1901 he discovered Naples, its archaeological museum, the ruins of Concerning his multiple amorous conquests, none seem to have lasted or really mattered to him during this period30. They are essentially models, or young women whom he meets in the street and persuades to let themselves be painted, sometimes perhaps without a second thoughtP 25. On the other hand, he maintained a tender friendship with the Russian poet Anna Akhmatova, whom he met during the 1910 carnival while she was on her honeymoon31,

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