亚美迪欧·莫迪利安尼《戴帽子的珍妮·赫布特尼》（伦敦佳士得2013）

阴山工作室 2018-07-06

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亚美迪欧·莫迪利安尼戴帽子的珍妮·赫布特尼伦敦佳士得2013.2 成交价2692.125万英镑

作品介绍

Jeanne Hébuterne au chapeau is one of the celebrated, elegant and lyrical portraits that Amedeo Modigliani created of his eponymous common-law wife, the mother of his daughter. This picture is filled with poise, accentuated by the sinuous curve of Jeanne's neck and the gentle undulation of her body as it meanders its way down the canvas. It is easy to see, looking at her posture, why some of Modigliani's pictures from this late phase in his ultimately short but dramatic and influential career are referred to as 'Mannerist' - certainly, there are hints of Parmagianino and Pontormo here. However, they are mere reverberations: Jeanne Hébuterne au chapeau is a strikingly modern work of art, an idealised image of the artist's lover. It is a tribute to the quality of Jeanne Hébuterne au chapeau that it was included, only a few years after it was painted, in the small posthumous retrospective of Modigliani's works held at the XIII Biennale in Venice in 1922, the first such show to take place in his home country. Jeanne Hébuterne au chapeau has passed through the hands of several important dealers and collectors, beginning with Léopold Zborowski; it subsequently hung in the bedroom in dealer Paul Guillaume's apartment and was included in a 1929 exhibition of his collection. It was later acquired by the Belgian collector Henri Belien, who owned a number of works by Modigliani and other artists of the time.

Looking at Modigliani's life and at his work, it becomes immediately apparent that the two were almost diametrically opposed in terms of atmosphere. The serene calm of Jeanne Hébuterne au chapeau contrasts dramatically with the legendary tales of drunkenness and bohemianism with which Modigliani is now so often associated. Perhaps his works provided a balance to his turbulent lifestyle. Certainly, looking at Jeanne Hébuterne au chapeau, there is a near-religious sense of grace instilled in the image of his final great lover. This may reflect Jeanne's role in sometimes - only sometimes - extricating Modigliani from the worst temptations. She provided him with an element of stability and was also sometimes able to nurse him, as he suffered from ever-declining health. For these reasons, she was looked upon with great favour by a number of those surrounding Modigliani, not least Zborowski himself, who hoped, somewhat vainly, that stability would lead to productivity. Instead, Modigliani created relatively few paintings during his short life; their rarity is reflected in the fact that over the past two years, only half a dozen have come to auction.

Paul Alexandre, Modigliani's early friend and patron in Paris, said of the artist: 'The true character of Modigliani is found not in all the stories that have been told about him but in his work. Anyone who knows how to look at his portraits of women, of young men, of friends, and all the others, will discover a man of exquisite sensibility, tenderness, pride, passion for truth, purity... Each portrait is the result of deep meditation in front of the sitter... Modigliani never painted without meaning' (P. Alexandre, quoted in M. Restellini, 'Modigliani: Avant-Garde Artist or "Schizophrenic Painter"?', pp. 17-32, Restellini (ed.), Modigliani: The Melancholy Angel, exh.cat., London & Paris, 2002, p. 29). While Alexandre rightly insists that Modigliani should be judged by his pictures, not his reputation and the mythology that grew around him, the two are often inextricable.

亚美迪欧·莫迪利安尼戴帽子的珍妮·赫布特尼局部

Nowhere is this more the case than in his ultimately tumultuous relationship with Jeanne, which ended with both their deaths, mere days apart, at the beginning of 1920, the year after Jeanne Hébuterne au chapeau was painted. In her biography of her father, Jeanne Modigliani (also known as Giovanna) wrote an account that aimed to banish the myths and traditions that surrounded the artist, whom she had not known as she had been a baby when he died, and included this description of her mother and how she met the famous peintre maudit:

'During the Carnival of 1917, Modigliani met a young student from the Académie Colarossi. Her name was Jeanne Hébuterne, and she was nineteen years old. She lived at 8 bis Rue Amyot, with her father Achille Casimir Hébuterne, an accountant, her mother Eudoxie Anaiis Tellier, and her brother André, a painter. Her father had a square white beard and worked as a cashier in a perfume shop. A passionate student of seventeenth-century literature and an atheist, he suddenly became a Roman Catholic... During the Carnival, Jeanne was at the studio of some friends, where Japanese prints and sketches of ballerinas hung on the wall, and she had dressed herself up in a pair of high boots and a sort of Russian blouse made out of a cover with a hole in the middle. Her high chignon, her bangs, the somewhat languid pose of her hands are the same in a faded photograph as they are in the first portrait of her that Modigliani ever painted. She was small, her hair was chestnut with reddish lights, and against it her complexion was so pale that the contrast made her friends nickname her "Coconut." Mme Roger Wild, who has devoutly kept the only remaining photographs of Jeanne, remembers her as a serious, intelligent girl with a strong personality' (J. Modigliani, Modigliani: Man and Myth, London, 1959, pp. 87-88).

These characteristics are clearly to the fore in Jeanne Hébuterne au chapeau, where the russet hair appears to billow behind her pale head and slender neck. Modigliani's love for Jeanne was an overwhelming force. Within a short time, despite her family's disapproval, the couple were living together in rue de la Grande Chaumière in Paris, subsidised by Zborowski, the Polish poet who had become an art dealer and who would from that point onwards be one of Modigliani's most devoted followers. Towards the end of the First World War, they decamped to the South of France. Over the next few years, the couple would spend a great deal of their lives in Nice and its surroundings; Modigliani's palette would become increasingly luminous, in parallel to the development of his friend Chaïm Soutine. The dark interiors of his earlier portraits evolved into the increasingly pastel-like shades of works such as Jeanne Hébuterne au chapeau with its turquoise-like background; this throws the dark dress and hat into bolder relief while also adding a rich luminosity to the skin tones. The influence of the South of France, of the warmth and the light and also, in 1918, the peace away from the random threat of death posed by Big Bertha, the cannon able to rain destruction on Paris from a distance of 100 kilometres, had all suffused Modigliani's works. So too did the subsequent birth of his daughter, also named Jeanne.

Modigliani spent the beginning of 1919 still in the South; during this time, Jeanne became pregnant again. Around half way through the year, they both separately headed back to Paris. Jeanne Hébuterne au chapeau may have been painted either there or in the South. What appears to be a door in the background accords with some of the portraits which appear to have been created in the capital during that period as well as some pictures of Jeanne in profile believed to have been painted the previous year in Nice. Looking at Jeanne Hébuterne au chapeau, the sense of salvation that Jeanne embodied in Modigliani's pictures and in his life alike is poetically captured, not least in the hieratic gesture that she appears to be making, which likens her to a Mannerist Madonna. The raised hand recalls some images of Leda being confronted by Zeus in the form of a swan, fending off that amorous force of nature, while also infusing the picture with a singular sense of stillness that echoes the Buddhist artworks that so enchanted Modigliani. There is a mystery to this picture: the hand appears raised not in supplication or to ward anyone off, as it faces a different direction from her direct gaze, but instead is an enigmatic gesture, almost religious. At the same time, it leads the eye while also making the composition more dynamic: in a number of the pictures of Jeanne from this period, Modigliani would depict her in poses that allowed him to accentuate their sinuosity. This is the case, for instance, in the picture of Jeanne on a chair, her arm leaning on its back, in the Norton Simon Collection, Pasadena, or another featuring a similar pose showing her in a loose frock-like blouse that is now in the Metropolitan Museum of Art, New York.

Modigliani used portraiture, especially of those in his immediate circle, as a means to explore an idealised aspect of humanity, an image of internal as well as external likeness. This is clearly the case in Jeanne Hébuterne au chapeau: while the hat and dress that Jeanne are wearing hint at the fashion of the day, the overall effect is one of timelessness. Jeanne has served as the Muse for an insightful and lyrical exploration of the human spirit, created using an incredibly subtle blending of colours that radiate a sense of health. Modigliani explained that, 'To do any work, I must have a living person... I must be able to see him opposite me (Modigliani, quoted in J. Modigliani, Modigliani: Man and Myth, London, 1959, p. 82). That physical presence is palpable in Jeanne Hébuterne au chapeau, as is the relationship between sitter and artist. At the same time, while Jeanne is instantly recognisable in this work, she has been depicted in a manner that approaches a serene universality.

In this way, Modigliani was continuing the investigations that had occupied him during his short-lived career as a sculptor. Having worked for some time under the guidance of the legendary Romanian sculptor Constantin Brancusi, Modigliani created a number of stone heads that were elongated and inscrutable, that had a totemic visual power and a pared-back sense of refinement that is echoed in his later paintings such as Jeanne Hébuterne au chapeau. It was with some reluctance that Modigliani had been forced to abandon sculpture as a medium, as it aggravated his already compromised health. And so he turned instead to painting, imbuing his pictures with the sculptural quality that is so evident here in the deftly-modelled neck and head in particular. Modigliani had broken with Brancusi in part because of the latter's interest in a sheer, perfect surface rather than the more ex-pressive marks that the younger artist preferred. This translates into his pictures in the dappled marks that compose so much of the picture. Nonetheless, some of Brancusi's incredibly rigorous concentration on the essential is echoed in the head and neck in particular in Jeanne Hébuterne au chapeau, which recall, say, the Romanian artist's portrait busts of Mlle Pogany. Modigliani was using a similar pictorial language in order to capture the essence both of his subject and of humanity itself. This search for an underlying dignity in human nature itself goes some way to explaining why few works other than portraits and nudes by Modigliani were created, an extremely rare exception being four landscapes from around this time.

亚美迪欧·莫迪利安尼戴帽子的珍妮·赫布特尼局部

It was at this time that Modigliani's works were beginning to garner increasing attention amongst the critics and the press. While never the most business-minded, Zborowski, the first owner of Jeanne Hébuterne au chapeau, nonetheless had helped to increase Modigliani's status and reputation. At various times, he would give his money, his living space and even, as a model, his wife to Modigliani to maintain the momentum of his career. Zborowski also managed to organise Modigliani's first exhibition, held in 1917 at the Galerie Berthe Weill, a show which caused a scandal as the nude visible in the street resulted in complaints to the authorities and a visit from the police. Zborowski engineered Modigliani's participation in various other exhibitions, helping to cement the reputation that he already enjoyed in the cafés of Montparnasse, where his drawings were often exchanged for goods and more importantly drinks. Crucially, in 1919 Modigliani enjoyed favourable sales and reviews when his works were shown in London in an exhibition of modern French art shown at the Mansard Gallery. His reputation was on the ascendant, yet his health was deteriorating, hence another journey to the South of France with Jeanne, who was soon pregnant with what would have been their second child. The tone of Modigliani's letters was increasingly optimistic, as he discussed a possible return to his homeland, Italy. However, it was not to be: after he had gone back to Paris, he continued painting, but was weakened and ill and died at the end of January 1920, just as he was on the brink of escaping the squalor that has since become such a legendary part of his life. Jeanne followed him in death only a couple of days afterwards, unable to live without him.

Modigliani was becoming increasingly accepted as a pioneer, one of the pathfinding figures in the world of modern art, when he died, and this legacy continued to grow apace. In 1922, at the Venice Biennale, Modigliani was commemorated in his homeland for the first time with a small exhibition dedicated to him which featured Jeanne Hébuterne au chapeau. This showcase of modern art placed Modigliani on a par with many other significant figures of the avant garde at the time.

Zborowski was still poor when Modigliani died, but his fortunes suddenly changed due to the patronage of Dr Albert C. Barnes, who purchased a catalogue of works by Soutine as well as various other artists' works. 'Zbo' did not live a great deal of time after this success, himself succumbing to ill health. It may have been at the posthumous sale of his works that Jeanne Hébuterne au chapeau entered Guillaume's collection. Certainly, it was there in time for the 1929 exhibition of his collection, where it hung alongside works by André Derain, Pablo Picasso, Pierre-Auguste Renoir and others; many of these are now in the Musée de l'Orangerie, Paris, which houses many of the works he acquired during his life. In photographs of his home at 20, avenue de Massine in Paris, where he had moved in 1928, Jeanne Hébuterne au chapeau is shown hanging on the walls of the bedroom alongside another of Modigliani's portraits of Jeanne.

Guillaume had known Modigliani for several years by the time he met Zborowski. His entrance into the art world had been driven by chance: coming from modest means, while working in a garage, he had come across a group of African sculptures in a shipment of rubber and placed them in the window, fascinated by the impression they created. This in turn grabbed the attention of Guillaume Apollinaire, who became his guide into the wider world of art, where Guillaume found himself entranced by the avant garde. Guillaume's own homes, for instance his small apartment on Avenue de Villiers, sometimes doubled as his gallery, and Modigliani himself was photographed there surrounded by some of his own pictures as well as those by other artists; it was also Guillaume who introduced Barnes to Zborowski. Both dealers featured in a number of Modigliani's portraits; in one from 1915 showing Guillaume which is now in the Orangerie, Modigliani has inscribed the words NOVO PILOTA, an indication of his belief in the dealer's trailblazing role in the avant garde and a foreshadowing of his own importance in the history of art.

亚美迪欧·莫迪利安尼戴帽子的珍妮·赫布特尼局部

参考译文

《戴帽子的珍妮·赫布特尼》是阿梅迪奥莫迪利亚尼创作的著名、优雅和抒情的肖像之一，画的是他的妻子，他女儿的母亲。这幅画充满了平衡，突出了珍妮脖子弯曲的曲线，以及她的身体在画布上蜿蜒而下的温柔起伏。从她的姿势不难看出，为什么莫迪利亚尼在他短暂但富有影响力的职业生涯中，在这个后期阶段的一些照片被称为“曼纳里斯特”(Mannerist)-当然，这里也有帕马吉亚诺和庞托尔莫的暗示。然而，它们只是混响：《戴帽子的珍妮·赫布特尼》这是一件非常现代的艺术作品，是艺术家情人的理想形象。这是对《戴帽子的珍妮·赫布特尼》这是1922年在威尼斯第十三届双年展上举行的莫迪利亚尼作品的小回顾展，这是在他的祖国举行的第一次这样的展览。《戴帽子的珍妮·赫布特尼》从莱奥波德·兹博洛夫斯基(Léopold Zborowski)开始，经过几个重要交易商和收藏家的手中；后来，它挂在经销商保罗·纪尧姆(Paul Guillaume)公寓的卧室里，并被列入1929年的一次后来被比利时收藏家亨利·贝琳收购，他拥有莫迪利亚尼和当时其他艺术家的一些作品。

从莫迪利亚尼的生活和他的工作来看，这两个人在气氛上几乎是截然相反的。平静的平静《戴帽子的珍妮·赫布特尼》这与莫迪利亚尼现在经常联想到的关于醉酒和波希米亚的传奇故事形成了鲜明的对比。也许他的作品为他动荡的生活方式提供了平衡。当然，看看《戴帽子的珍妮·赫布特尼》，他的最后一位伟大情人的形象中注入了一种近乎宗教的恩典感。这可能反映了珍妮的作用，有时-只是有时-将莫迪利亚尼从最坏的诱惑中解救出来。她给他提供了一种稳定的因素，有时还能照顾他，因为他的健康状况一直在下降。由于这些原因，莫迪利亚尼周围的许多人，尤其是兹博洛夫斯基本人，对她给予了极大的支持，他在某种程度上是徒劳的，希望稳定会带来生产力。相反，莫迪利亚尼在他短暂的一生中创作了相对较少的画作；它们的稀缺性反映在过去两年中，只有六幅作品被拍卖。

保罗·亚历山大(PaulAlexandre)是莫迪利亚尼在巴黎的早期朋友和赞助人，他在谈到这位艺术家时说：“莫迪利亚尼的真实性格不是从所有关于他的故事中找到的，而是在他的作品中找到的。”任何一个知道如何看他的画像的女人，年轻的男人，朋友和所有其他人，都会发现一个有着细腻的情感，温柔，骄傲，对真理和纯洁的热情的男人.每一幅画都是在保姆面前沉思的结果.莫迪利亚尼从来没有意义“(P.Alexandre，引自M.Restellini，‘Modigliani：前卫-Garde艺术家或”精神分裂画家？’，第17-32页，Restellini(编辑)，莫迪利亚尼：忧郁的天使，前CAT，伦敦和巴黎，2002年，p。29)。虽然亚历山大坚持认为莫迪利亚尼应该从他的照片，而不是他的名声和他周围的神话来判断，但两者往往是不可分割的。

亚美迪欧·莫迪利安尼戴帽子的珍妮·赫布特尼局部

在他与珍妮的最后一段动荡的关系中，没有什么比这更能说明问题了。这段关系在1920年，也就是第二年，以他们两人的死亡告终，相隔几天。《戴帽子的珍妮·赫布特尼》是画的。在她父亲的传记中，珍妮·莫迪利亚尼(又名乔瓦纳)写了一个故事，目的是消除围绕这位艺术家的神话和传统，她在父亲去世时还不知道她还是个婴儿，并包括了对她母亲的描述，以及她是如何认识这位著名的艺术家的。石化审计:

在1917年的狂欢节期间，莫迪利亚尼遇到了一名来自Académie Colarossi的年轻学生。她叫珍妮·赫伯恩，今年19岁。她与父亲Aillle Casimir Hébuterne(会计师)、母亲Eudoxie Anaiis Tellier和她的兄弟André(画家)一起住在Amyot街8号。她父亲留着方形白胡子，在一家香水店当收银员。他是十七世纪文学的狂热学生和无神论者，突然成为罗马天主教徒.在狂欢节期间，珍妮在一些朋友的工作室里，墙上挂着日本的版画和芭蕾舞女演员的素描，她把自己打扮成一双高靴子和一件由中间有个洞的盖子做成的俄罗斯衬衫。在一张褪色的照片中，她的高高的发髻，她的刘海，她的双手有些懒散的姿势，就像莫迪利亚尼所画的第一幅她的画像一样。她个子很小，头发是栗色的，带着红色的灯光，她的肤色非常苍白，所以她的朋友们给她起了个绰号叫“椰子”。罗杰·怀尔德夫人虔诚地保存着珍妮唯一剩下的照片，她记得她是一个严肃、聪明、性格坚强的女孩。(J.莫迪利亚尼，莫迪利亚尼：人与神话，伦敦，1959年，第87-88页)。

这些特点显然是在《戴帽子的珍妮·赫布特尼》中，在她苍白的头和纤细的脖子后面，粗发似乎翻腾起来。莫迪利亚尼对珍妮的爱是一股压倒性的力量。在很短的时间内，尽管她的家人不同意，但这对夫妇住在巴黎的“大教堂街”(Rue de la Grande Chaumière)，由波兰诗人兹博洛夫斯基(Zborowski)资助，他已经成为一名艺术商人，从那时起，他将成为莫迪利亚尼最忠实的追随者之一。第一次世界大战结束时，他们潜入法国南部。在接下来的几年里，这对夫妇将在尼斯及其周围度过大量的生活；莫迪利亚尼的调色板将变得越来越明亮，同时他的朋友查伊姆·苏廷(Cha M Soutine)也在成长。他早期肖像的黑暗内饰演变成了越来越像粉笔的作品，比如Jeanne Hébuterne au起首语它的绿松石般的背景；这把黑色的衣服和帽子到更大胆的浮雕，同时也增加了丰富的亮度的皮肤色调。法国南部、温暖和光明的影响，以及1918年的和平，使莫迪利亚尼的作品充满了莫迪利亚尼的作品，这门大炮能够在100公里的距离内摧毁巴黎。他女儿的出生也是如此，她的女儿也叫珍妮。

1919年初，莫迪利亚尼仍在南方；在此期间，珍妮又怀孕了。大约在一年的一半时间里，他们都分别回到了巴黎。《戴帽子的珍妮·赫布特尼》可能是在那里或者在南方。背景中的一扇门似乎与首都在此期间创作的一些肖像画以及据信前一年在尼斯画的珍妮的一些画像相符。望着《戴帽子的珍妮·赫布特尼》珍妮在莫迪利亚尼的照片和他的生活中所体现的救恩感，在诗意上都被捕捉到了，尤其是她所做的象形文字般的手势，把她比作曼纳主义者麦当娜。举起的手让人想起了宙斯以天鹅的形式面对着勒达的画面，避开了大自然的多情力量，同时也注入了一种奇异的静谧感，回荡着佛教艺术作品对莫迪利亚尼的迷恋。这幅画有一个谜：这只手似乎不是在乞求，也不是为了驱赶任何人，因为它面临着与她的直视不同的方向，而是一种神秘的姿态，几乎是宗教的。同时，它在引导眼睛的同时，也使构图更加生动：在这一时期的珍妮的许多照片中，莫迪利亚尼会用姿势描绘她，使他能够突出他们的罪恶。例如，在珍妮坐在椅子上的照片中，她的手臂靠在椅子上，在帕萨迪纳的诺顿·西蒙收藏品中，或者是另一个类似的姿势，她穿着一件宽松的紧身上衣，现在纽约大都会艺术博物馆。

莫迪利亚尼使用肖像画，特别是那些在他的直接圈子，作为一种手段，探索一个理想化的方面的人性，一个形象的内部和外部的相似。这显然是在《戴帽子的珍妮·赫布特尼》虽然珍妮戴的帽子和衣服暗示着当今的时尚，但总体效果却是永恒的。珍妮是人类精神的一个有洞察力和抒情探索的缪斯，创造了一个令人难以置信的微妙的色彩混合，辐射出一种健康的感觉。莫迪利亚尼解释说，“要做任何工作，我必须有一个活着的人.我必须能够看到他在我对面(莫迪利亚尼，引用在J.莫迪利亚尼，莫迪利亚尼：人与神话，伦敦，1959年，p.82)。有形的存在Jeanne Hébuterne au起首语，就像保姆和艺术家之间的关系一样。同时，当珍妮在这部作品中立即被认出来时，她被描绘成一种接近平静的普遍性的方式。

通过这种方式，莫迪利亚尼在他短暂的雕塑家生涯中一直在继续调查。莫迪利亚尼在传奇的罗马尼亚雕塑家康斯坦丁布兰库西的指导下工作了一段时间，他创作了一些石头，这些石头都是细长而神秘的，有着图腾般的视觉力量，还有一种瘦削的精致感，这在他后来的绘画中得到了回响，例如，《戴帽子的珍妮·赫布特尼》。莫迪利亚尼不得不放弃雕塑作为一种媒介，因为这使他的健康状况更加恶化。于是，他转而开始绘画，把他的画注入了雕塑的品质，这在这里非常明显，尤其是在造型精巧的脖子和头部。莫迪利亚尼与布兰库西分手的部分原因是后者对纯粹的、完美的表面感兴趣，而不是年轻艺术家更喜欢的更具表现力的标志。这就转化成了他的照片中的斑点标记，构成了如此之多的图片。尽管如此，布兰库西的一些令人难以置信的严格的注意力集中在大脑和颈部，特别是在《戴帽子的珍妮·赫布特尼》，比如，这位罗马尼亚艺术家的画像“波加尼先生”(MllePogany)。莫迪利亚尼用类似的绘画语言来捕捉他的主题和人性本身的本质。这种对人性内在尊严的探索，在某种程度上解释了为什么除了莫迪利亚尼的肖像画和裸体作品之外，很少有作品被创作出来，这是一个非常罕见的例外，来自这个时代的四幅风景。

亚美迪欧·莫迪利安尼戴帽子的珍妮·赫布特尼局部

就在这个时候，莫迪利亚尼的作品开始在评论家和媒体中引起越来越多的关注。虽然从来没有最有商业头脑的人，兹博罗夫斯基，第一个拥有《戴帽子的珍妮·赫布特尼》尽管如此，它还是帮助提高了莫迪利亚尼的地位和声誉。在不同的时候，他会给他的钱，他的生活空间，甚至，作为一个模特儿，他的妻子莫迪利亚尼，以保持他的事业的势头。兹博洛夫斯基还成功组织了莫迪利亚尼1917年在加莱丽·贝特·威尔(Galerie Berthe Weill)举办的第一次展览。这场展览引发了一场丑闻，因为街头裸露的人遭到了当局的投诉和警方的拜访。兹博洛夫斯基设计了莫迪利亚尼(Modigliani)参与其他各种展览，帮助巩固了他在蒙帕纳斯咖啡馆(Montparnasse)已经享有的声誉。在那里，他的画经常被用来交换商品和更重要的饮料。最重要的是，1919年，莫迪利亚尼在伦敦的一次现代法国艺术展览中在曼沙德画廊展出时，他的作品获得了良好的销售和好评。他的名声在上升，但他的健康状况却在恶化，因此他又和珍妮一起前往法国南部，她很快就怀上了他们的第二个孩子。莫迪利亚尼的信的语气越来越乐观，因为他讨论了可能返回他的祖国意大利。然而，事实并非如此：回到巴黎后，他继续画画，但身体虚弱，病了，于1920年1月底去世，就像他即将摆脱从此成为他生命中传奇部分的污秽一样。仅仅几天后，珍妮就跟着他死了，没有他就活不下去了。

莫迪利亚尼去世后，越来越多地被接受为现代艺术界的开拓者之一，这一遗产继续迅速增长。1922年，在威尼斯双年展上，莫迪利亚尼第一次在他的祖国举行了一个小型展览，《戴帽子的珍妮·赫布特尼》。这一现代艺术的展示使莫迪利亚尼与当时许多其他重要的先锋人物相提并论。

莫迪利亚尼去世时，兹博洛夫斯基仍然很穷，但由于阿尔伯特·C·巴恩斯博士的赞助，他的命运突然发生了变化，他购买了Soutine的作品目录以及其他艺术家的作品。“Zbo”在这次成功之后并没有活很长时间，他自己也因身体不好而屈服。他的作品可能是在死后出售的Jeanne Hébuterne au起首语进入纪尧姆的收藏。当然，这正是1929年他的藏品展览的时间，展览与安德烈·德兰(AndréDerain)、巴勃罗·毕加索(Pablo Picasso)、皮埃尔-奥古斯特·雷诺阿(Pierre-Auguste Renoir)等人的作品一起展出。其中许多作品现在都在巴黎的欧兰切博物馆(Musée de l‘rangerie)展出，里面收藏了他1928年，他搬到巴黎的马辛大道20号，在他的家的照片中，《戴帽子的珍妮·赫布特尼》挂在卧室的墙上，旁边是莫迪利亚尼的另一幅珍妮的肖像。

纪尧姆认识兹博洛夫斯基时已经认识莫迪利亚尼好几年了。他进入艺术界是偶然的：他在车库工作时，偶然发现了一批装着橡胶的非洲雕塑，并把它们放在橱窗里，被它们所创造的印象所吸引。这反过来又引起了纪尧姆·阿波罗内尔的注意，他成了他的向导，进入了更广阔的艺术世界，纪尧姆发现自己被前卫的花环迷住了。纪尧姆自己的家，例如他在维利斯大道上的小公寓，有时是他的画廊的两倍，莫迪利亚尼本人也在那里被他自己和其他艺术家的一些照片包围着；也是纪尧姆把巴恩斯介绍给兹博洛夫斯基的。这两位商人都有莫迪利亚尼的一些肖像；其中一幅从1915年开始，展示了纪尧姆(Guillaume)，现在“橙色”(Orangerie)中。莫迪利亚尼刻下了诺沃·皮洛塔(Novo Pilota)这个词，这表明他相信这位商人在前卫中扮演着先锋派的角色，预示着他在艺术史上的重要性。

作品细节

亚美迪欧·莫迪利安尼戴帽子的珍妮·赫布特尼局部

画家简介

亚美迪欧·莫迪利安尼（Amedeo Modigliani，1884-1920），亦译为“阿梅代奥·莫迪利亚尼”、“莫迪利亚尼”、“莫蒂里安尼”等。意大利表现主义画家、雕塑家，犹太人。莫迪利安尼受到19世纪末期新印象派影响，以及同时期的非洲艺术、立体主义等艺术流派刺激，创作出深具个人风格，以优美弧形为特色的人物肖像画，而成为表现主义画派的代表艺术家之一。莫迪利安尼出生于托斯卡纳的小海港城市里窝那的一个犹太家庭。父亲是商人，母亲是英文教师。自幼体弱多病，学业不佳，性格古怪，沉默寡言，游手好闲，是蒙马特画家圈中最不安分的青年，与酒鬼画家郁特里罗是挚友。他的经历十分坎坷和悲惨。由于体弱多病，到巴黎后生活十分困难，渐渐地形成了酗酒的习惯，在穷苦和麻醉中过着颓废的生活。瑞士籍的精神病医生奥斯卡·普费斯特，认为他患有严重的精神疾患，并由此而确定他在艺术上的表现主义倾向。他说：“受着痛苦经历的驱使而厌恶这个外部世界的时候，那个已知的自我把自己深深埋藏在内心世界之中，并把它自己夸大为世界的创造者。表现派艺术家异常自命不凡，并不是自负，而是从心理上说有充分根据的经验，是一种使远离现实的孤独性格免于崩溃的必要手段。但是，他们这种偏执狂的孤芳自赏，不得不付出痛苦的牺牲。”人们说这位游荡的可怜人身上除充满酒精、毒品外还充满天分，他在挥霍金钱的同时也挥霍自己的天分。他所有的画都是他的自画像和他灵魂的象征。他创造了发泄自己情感的方法，在他的画中包含着，甚至隐藏着一种欲望的满足。莫蒂里安尼是早夭的天才，他的放荡和肺病使他在36岁就离开了人世，一直与他生活在一起的他的最忠实的模特儿和妻子让娜·埃比泰尔纳，在听到他死讯的第二天跳楼自杀。1923年人们在拉雪兹神父公墓为他们举行了合葬仪式。莫迪利安尼过世后名气与日俱增。

莫迪利安尼早年曾跟随画家古列尔莫·米凯利学习绘画。1902年考入威尼斯美术学院，1906年到巴黎，与毕加索等人同在蒙马尔特高地下的民区居住，并且向布朗库西学习雕塑。1912-1917年间，莫迪利安尼形成了他的艺术特色，即运用优美、精练的线条勾画对象的轮廓，然后涂布经过夸张、提炼的浓艳色彩。他接受东方绘画的影响，吸取塞尚表现形态结构的方法，并且把形象通过夸张变形而特别拉长。他笔下的人物并不真实，经过加工之后，画面呈现出一种有韵律的优美节奏。仔细看大部分肖像作品的眼睛大都无神，空洞，法国人评论说：“此时的模特是处在催眠之中。”他的作品构图活泼多变，色彩丰富而富有变化。莫迪利亚尼找到了一种既是图像又是装饰风格的线的艺术语言。这种曲线和涡形，延伸了这种温柔中的严峻、模糊中的朴实，它们很符合现代精神传达的表现主义。莫迪利亚尼给20世纪带来的是一种“战栗的艺术”。法国诗人法朗西斯·卡柯的纪念文章颇有意义：“他的一生有贫困与烦恼，记录了因为与世格格不入而摆脱掉平淡无奇的愿望。它具有一种想要出人头地的特征，并且表明了对惩罚的渴望和达到目的的愿望。……就全部生活而言，就所有缺点和质量而言，就对不幸与特殊的体验、优雅的激流、狂热与猥亵而言，莫迪利亚尼在身后留下的是一个不能很快填满的空白点。”

作品资料

Amedeo Modigliani (1884-1920)

Jeanne Hébuterne (Au chapeau)

成交总额GBP 26,921,250

估价GBP 16,000,000 - GBP 22,000,000

拍卖 1102

Impressionist/Modern Evening Sale

伦敦|2013年2月6日

拍品 16

signed 'modigliani' (upper right)

oil on canvas

36¼ x 21¼ in. (92 x 54 cm.)

Painted in 1919

来源

Leopold Zborowski, Paris.

Paul Guillaume, Paris, by 1929.

Galerie Bignou, Paris.

H. Belien, Brussels.

M. Knoedler & Co., Inc., New York.

Private collection, United States, by whom acquired from the above in 1955; sale, Sotheby's, New York, 13 May 1997, lot 36.

Private collection, United States, by whom acquired at the above sale; sale, Sotheby's, London, 19 June 2006, lot 15.

Acquired at the above sale by the present owner.

展览历史

Venice, XIII Esposizione Biennale Internazionale d'Arte, 1922, no. 3.

Paris, Galerie Bernheim-Jeune, La Grande peinture contemporaine dans la Collection Paul Guillaume, 1929.

Brussels, Palais des Beaux-Arts, Art italien contemporain, 1950, no. 70.

Brussels, Palais des Beaux-Arts, La femme dans l'art français, March - May 1953, no. 92; this exhibition later travelled to Amsterdam, Rijksmuseum.