亚美迪欧·莫迪利安尼《穿衬衫的女孩》（纽约佳士得2007）

阴山工作室 2018-07-06

展开全文

亚美迪欧·莫迪利安尼穿衬衫的女孩纽约佳士得2007.11 成交价1684.1万美元

作品介绍

The sitter in this portrait is still only a girl, probably in her late teens. Her ruddy cheeks and russet hair, adorned in cork-screw bangs and shoulder-length braids, give the impression of youthful and healthy innocence. There is, however, a Lolita-like aspect to her as well, contained in a simple gesture, that of having let the strap of her shift slip from her shoulder, revealing a small rosy nipple on her pubescent breast. Her impossibly tiny rosebud mouth is little larger than aureole on her bosom. As sweet and nonchalant as she appears, this is an enigmatic and suggestive portrait, a simple yet insinuatingly seductive characterization by a master portraitist. Modigliani has calculated each of these fetching effects to entice one's attention, and create a delicately erotic mystery that holds the viewer in thrall.

Hardly less appealing in this portrait is its warmly glowing and airy feeling, which points to the fact that Modigliani painted it in the South of France in 1918, during his year-long stay there. It was a trip occasioned more by circumstance than choice. The artist's possibilities in Paris had actually begun to look promising toward the end of 1917. His friend, agent, dealer and backer Léopold Zborowski had gotten Modigliani his first--and, as it would turn out, only--solo exhibition at Berthe Weill's gallery, which ran in December. The heart of the show had been a group of about seven nudes (fig. 1), one of which Mme Weill put in the window of her shop. This painting showed the "forbidden triangle," pubic hair, and a crowd gathered. The local police station was located across the square, and the commissionaire divisionaire sent an officer to investigate. When he learned the cause of the commotion, he ordered the offending painting taken down, and all the nudes inside removed as well, on threat of confiscation. Without them on view, the artist and his agent had nothing else that was as pricey to sell, and the show was doomed to run its course and end up a financial failure. Only two drawings were sold.

As Pierre Sichel has pointed out, we do not know how Modigliani responded to this incident. "It was probably a greater shock to Zborowski, but Modi could not have been too surprised since he had been long convinced that nothing ever turned out right for him. It was fate conspiring against him as always; it reinforced his belief that he was being persecuted" (in Modigliani: A Biography, London, 1967, p. 401). In any case, Modigliani never again painted full-length nudes that were so utterly naked and blatantly sensual. He could, however, now claim the distinction of being the only painter in recent memory to have his work banned by the police. The Weill exhibition had become a succès de scandale, which for an artist at that time amounted to a significant succès d'estime. People began to wonder about this provocative painter and became interested in his work. Zborowski rebounded from the blow, and saw an opportunity to capitalize on his client's new-found notoriety.

Zborowski made some much-needed sales of Modigliani's work in early 1918. But just as things were looking up, a string of troubles soon dashed all hopes. Modigliani was suffering from tuberculosis, a condition his nonstop smoking and drinking further aggravated, and his health took a sudden turn for the worse. Jeanne Hébuterne, the artist's girlfriend, announced that she was pregnant. The Germans then decided to launch their last-ditch, all-out offensive to end the war. They positioned three huge railway-mounted guns, collectively known as Big Bertha, to lob massive shells over a distance of 100 kilometers into Paris, raining death and destruction in earth-shaking explosions twenty minutes apart. People who possessed the means fled the city in droves. The art market in Paris, whose state had been tenuous at best during the previous years of the war, collapsed altogether. Zborowski wanted to take Modigliani and Jeanne out of harm's way, and he believed that a move to a warmer clime would help restore the artist's health. He planned to support their trip by selling the artist's paintings to the well-heeled and fashionable crowd, including the recent influx of refugees from Big Bertha, that congregated in the resort towns on the Côte d'Azur.

Zborowski assembled an odd entourage for the journey: in addition to his wife Hanka, there was Modigliani and Jeanne, Jeanne's mother Eudoxie (who wanted to look after her daughter during her pregnancy), the Japanese artist Foujita and his wife Fernande Barry, and the painter Soutine. They took the train to Nice, and then settled into a medieval fortress at Haut-de-Cagnes, in the hills above the city, near Cagnes-sur-Mer, where Renoir had his home. While Zborowski tried to sell the artists' paintings, literally going from door to door in the hotels of Nice, Modigliani painted but continued to drink heavily. Soutine, who had never known what it was like to take a vacation and had just seen the sea for the first time, simply lounged and slept in the warm sun. Foujita called him "The Lizard."

Tensions ran high between Modigliani and Jeanne's mother. Mme Hébuterne thought poorly of Modigliani's profession and would never acknowledge his talent, she was appalled at his self-destructive habits, and believed that he was unfit to support her daughter and the child on the way. Zborowski did all he could to keep them apart, and he sent Modigliani to stay with the painter Anders Osterlind, whose residence in Cagnes bordered on Renoir's property. Modigliani wanted to meet Renoir, and Osterlind arranged for a visit with him one evening. The latter had assumed that both men, who seemed to share common interests in female portraiture and the nude, would have enough to talk about. Modigliani's behavior, however, proved to be baffling and rude. Osterlind later recounted their visit:

"It was a delicate thing putting these two face to face: Renoir with his past, the other with his youth and confidence; on the one side joy, light, pleasure, and a work without peer, on the other Modigliani and all his suffering. After Renoir had some of his canvases taken down from the wall, a grim, sombre Modigliani listened to him speak.

"'So you're a painter too then, eh, young man?" he said to Modigliani, who was looking at the paintings. [Modigliani did not respond.] 'Paint with joy, the same joy with which you make love.' [Silence.] 'Do you caress your canvases a long time?' [Silence.] 'I stroke the buttocks for days and days before finishing a painting.'

"It seemed to me that Modigliani was suffering and that a catastrophe was imminent. It happened. Modigliani got up brusquely, and his hand on the doorknob, said brutally. 'I do not like buttocks, monsieur!'" (quoted in P. Sichel, op. cit., p. 413).

There was clearly a difference in temperaments, and the patrician Modigliani no doubt objected to Renoir's lecherous suggestions, which he felt were unbecoming in a great master. Modigliani's response also suggests the lingering effect of the scandal of the nudes during the Weill exhibition; he was growing more guarded in the ex-pression of sexuality in his work, and wanted to avoid the very charge of vulgarity he that he had thrown by inference at Renoir's nudes. Both painters did share in their work, however, a penchant for classical form, the figure fully rounded and volumetric, and an idealized spirit derived from the ancient arts of Mediterranean culture. The body, the nude especially, was the classicist's subject par excellence. Matisse and Picasso had increasingly turned to classicism, and both admired Renoir. Matisse called on Renoir at the end of 1917 and made several more visits in 1918, while Picasso would pour with growing interest over the late Renoir paintings in his dealer Paul Rosenberg's inventory, and buy one for himself.

By the time of his sojourn to the Midi, Modigliani had already begun to abandon some of the Cubist-derived stylistic devices which had he had employed in his earlier paintings. Although he retained until the end of his career some of the trademark mannerisms of his Montparnasse period--the simplification of the contours of head and body, for example, and the sightless, almond eyes--the portraits from 1917 onward are notable for the increasing naturalism in the artist's depiction of the human figure. This tendency gained momentum upon Modigliani's arrival the south of France. There the artist moreover employed thinner painterly textures, using the whiteness of the ground to radiate through the paint film, and he adopted a lighter palette to reflect the crystalline brightness of his new surroundings.

Modigliani also turned to new subjects. Separated from his circle of Parisian artists, poets, friends and patrons, he now took as his models local inhabitants of Nice and its environs, people who lent themselves to a more straight-forward, sympathetic presentation than had the sophisticated urban denizens of bohemian Montparnasse. Werner Schmalenbach has written:

"It was precisely at this time that Modigliani became the painter of simple, unknown, nameless people. He painted portraits of ordinary men and women: a gardener, an apprentice, a young peasant, a chambermaid, a woman druggist, and occasionally a child [fig. 2]--people from a social background other and 'lower' than his own. This sprang not from any hankering after social comment but from an intensely 'human' interest... They convey a reticent but forcefully ex-pressed inner sympathy, and they achieve great poignancy... It is as if, in order to do justice to these simple people, the painter had renounced his aesthetic eloquence; as if he were being even more restrained in his use of color than usual; as if he were approaching his sitters quietly, almost shyly. It is in this small group of paintings, which stands out so sharply from the portraits of male and female friends, that Cézanne makes his reappearance in Modigliani's work, not so much in the manner of painting as in the vision of humanity. All Modigliani's works in this vein have the same quiet tonality, the almost vegetative presence of the sitter and a human understanding that is more intense because nothing is mannered" (in Amedeo Modigliani, Munich, 1990, pp. 43-44).

The present picture is one, perhaps the first completed, of three canvases that Modigliani painted in 1918 that feature the same young female model, seen in the progressive stages of a sort of strip-tease. In the second picture (Ceroni, no. 265; fig. 3) she has let the strap of her chemise drop completely, as she lifts her hand to her breast. In the third picture (Ceroni, no. 266; fig. 4), she has bared both breasts, and completes the motion of her hand: she now cups her breast, which appears more ample than in the previous two versions. This positioning of the hand, which also appears in the 1917 nude shown at the Berthe Weill exhibition (fig. 1), is the classic gesture of Venus lactans. It is seen in the famous Medici Venus, a first century BC Roman copy after Praxiteles, and in Bottticelli's The Birth of Venus (fig. 5). In Christian art, this posture becomes the symbolic gesture of Maria lactans, in which the Mother of God reveals her love as nourishment for the soul, just as a mother's milk is for her child. In Ceroni, Patani and another catalogue entry, the model in Modigliani's paintings has been called a milkmaid (see Modigliani: Melancholy Angel, exh. cat., Musée de Luxembourg, Paris, 2002, p. 326), which reflects this classical and perhaps even the religious allusion, but was probably not her real occupation. A milkmaid was usually a young girl who lived on the farm under some manner of adult supervision, either from her parents or her employer. Modigliani would have been taking a substantial risk if he enticed such a girl to pose for him in the manner seen here--like Egon Schiele, he might have ended up in a provincial jail on charges of endangering the morals of a minor. This pretty, adolescent model is surely a young prostitute, one of his neighbors in the cheap hotels in Nice where Modigliani stayed during much of his sojourn in the Midi. Tamar Garb has explained the role of the nude model in Modigliani's painting:

"Of what was she a sign? Of the male artist's identity as creator in contrast to her passive materiality? Of his sexuality or her animality? Of an equation between artistic license and sexual freedom as metaphor for its opposite--the regimentation and regulation of bourgeois masculinity and domestic life? All this and more... This was how the new endeavor of modernism could be signified as a deep engagement with the actual... The frank undressedness of the model in a recognizable singularity was a signifier for the disrobing of art" (in Modigliani: Beyond the Myth, exh. cat., The Jewish Museum, New York, 2004, p. 68.).

(fig. 1) Amedeo Modigliani, Vénus (Nu debout, Nu Médicis), 1917. Sold, Christie's New York, 8 November 2006, lot 31. BARCODE 25062793

(fig. 2) Amedeo Modigliani, Jeune fille au béret, 1918. Sold, Christie's London, 6 February 2007, lot 15. BARCODE 25010565

(fig. 3) Amedeo Modigliani, Giovane rossa in camicia, a mezza figura, 1918. Private collection. BARCODE 25010572

(fig. 4) Amedeo Modigliani, Giovane rossa in camicia, seduta su un divano (La giovane lattaia), 1918. Private collection. BARCODE 25010589

(fig. 5) Sandro Botticelli, The Birth of Venus (detail), circa 1485. Gallería degli Uffizi, Florence. BARCODE 20627423

(fig. 6) Amedeo Modigliani, 1918, in a photograph he gave to Jeanne Hébuterne. Archives Jeanne Hébuterne. BARCODE 25240269

参考译文

这幅画像中的保姆仍然只是一个女孩，可能是在她十几岁的时候。她红润的脸颊和粗犷的头发，饰着软木的刘海和肩长的辫子，给人的印象是年轻而健康的纯真。然而，在她身上也有一种类似洛丽塔的相貌，包含在一个简单的姿势中，那就是让她的背带从肩膀上滑下来，露出她青春期的乳房上有一个小小的玫瑰色乳头。她那不可能的小玫瑰芽嘴比胸前的光环大一点点。这是一幅神秘的和暗示性的画像，是一位大师所描绘的简单而又有诱惑力的人物形象。莫迪利亚尼计算了每一种吸引人注意力的效果，并创造了一种微妙的情欲之谜，让观众陷入困境。

在这幅画中，莫迪利亚尼的热情、光彩照人的感觉也同样吸引人，这说明莫迪利亚尼1918年在法国南部逗留一年的时候画了这幅画。这是一次旅行，与其说是出于选择，不如说是出于环境。这位艺术家在巴黎的可能性实际上在1917年末已经开始看起来很有希望了。他的朋友、经纪人、经销商和支持者莱奥波德·兹博洛夫斯基(Léopold Zborowski)把莫迪利亚尼 (Modigliani)送上了他的第一次个展-而且，结果是，只有-在贝特·威尔画廊(Berthe We@@演出的核心是一群大约七人的裸体(图1)其中一个是威尔太太放在她商店橱窗里的。这幅画展示了“禁三角”，阴毛，一群人聚集在一起。当地警察局位于广场对面，委员分局派了个警官去调查。当他知道骚乱的原因后，他下令把这幅冒犯的画取下来，里面的所有裸体也都被拿走了，威胁要没收。没有他们的建议，艺术家和他的经纪人没有任何其他东西是如此昂贵的出售，这场展览注定要走上正轨，最终导致财政失败。只卖了两幅画。

正如皮埃尔·西西尔指出的那样，我们不知道莫迪利亚尼的反应。“对兹博洛夫斯基来说，这可能是一个更大的打击，但莫迪不可能感到太惊讶，因为他很久以来一直坚信没有任何事情适合他。”这是命运在一如既往地密谋对付他；这使他更加相信他正在受到迫害“莫迪利亚尼：传记，伦敦，1967年，p.401)。在任何情况下，莫迪利亚尼再也没有再画出的全长度裸体是如此赤裸和公然的感官。然而，他现在可以声称自己是最近记忆中唯一被警察禁止作品的画家。威尔展览已经成为丑闻，对于当时的艺术家来说，这是一个非常重要的Succès d‘estime。人们开始对这位挑衅性的画家感到好奇，对他的作品产生了兴趣。兹博洛夫斯基从打击中反弹，并看到了利用他的客户新发现的恶名的机会。

1918年初，兹博洛夫斯基对莫迪利亚尼的作品做了一些急需的销售。但就在事情开始好转的时候，一连串的麻烦很快就破灭了所有的希望。莫迪利亚尼患有肺结核，他不停地吸烟和喝酒的情况进一步恶化，他的健康突然恶化。这位艺术家的女朋友珍妮·赫伯恩宣布她怀孕了。于是德国人决定发动最后一次彻底的进攻来结束战争。他们放置了三支巨大的铁路炮，统称为“大贝莎”(BigBertha)，在距巴黎100公里的地方发射巨大的炮弹，每隔20分钟就会造成人员伤亡和破坏。拥有这些手段的人成群结队地逃离了这座城市。巴黎的艺术品市场在战争的前几年里充其量是脆弱的，但现在却完全崩溃了。兹博洛夫斯基想让莫迪利亚尼和珍妮远离伤害，他相信，搬到一个温暖的山丘上会有助于恢复艺术家的健康。他计划通过把艺术家的画卖给富有时尚的人群来支持他们的旅行，其中包括最近聚集在科特阿祖尔度假城镇的来自大伯塔的难民涌入。

Zborowski为这次旅行召集了一个奇怪的随行人员：除了他的妻子Hanka之外，还有Modigliani和Jeanne，Jeanne的母亲Eudoxie(她想在她怀孕期间照顾她的女儿)，日本艺术家Foujita和他的妻子Ferde Barry，以及画家Soutine。他们坐火车到尼斯，然后定居在中世纪的城堡，在霍特-德卡根斯，在城市上方的山丘，靠近卡根斯-苏尔-梅尔，雷诺阿有他的家。尽管兹博洛夫斯基试图在尼斯的酒店里挨家挨户出售这些艺术家的画作，但莫迪利亚尼仍在继续大量饮酒。Soutine从来不知道度假是什么感觉，他刚刚第一次看到了大海，他只是懒洋洋地躺在温暖的太阳下睡觉。福吉塔称他为“蜥蜴”

莫迪利亚尼和珍妮的母亲之间关系紧张。Hébuterne夫人认为莫迪利亚尼的职业不好，从不承认他的才华，她对莫迪利亚尼的自毁习惯感到震惊，认为他不适合在路上抚养女儿和孩子。兹博洛夫斯基尽他所能把他们分开，他派莫迪利亚尼与画家安德斯·奥斯特林德住在一起，他在卡根斯的住所与雷诺阿的财产相邻。莫迪利亚尼想见见雷诺阿，奥斯特林德安排了一天晚上来看他。后者认为，似乎对女性肖像画和裸体有共同兴趣的两个人都有足够的话要说。然而，莫迪利亚尼的行为被证明是令人困惑和粗鲁的。Osterlind后来叙述了他们的访问：

“这是一件微妙的事情，使这两个人面对面：雷诺阿与他的过去，另一个与他的青春和信心，一方面是欢乐，光明，快乐，工作没有同伴，莫迪利亚尼和他所有的痛苦。雷诺阿把他的一些画布从墙上取下来后，一个阴沉的、阴郁的莫迪利亚尼听了他的话。

“那么你也是个画家，嗯，年轻人？”他对正在看画的莫迪利亚尼说。[Modigliani没有答复]“享受快乐，享受你所爱的快乐。”[沉默]“你会爱抚你的画布很长时间吗？”[沉默]“在画完之前，我在屁股上划了好几天。”

“在我看来，莫迪利亚尼正在受苦，一场灾难即将来临。事情发生了。莫迪利亚尼勃然大怒地站了起来，手放在门把手上，冷冷地说。“先生，我不喜欢臀部！”（行了，p.413)。

性情明显不同，莫迪利亚尼贵族无疑反对雷诺阿的淫荡建议，他觉得这是一位伟大的大师。莫迪利亚尼的回应还表明，在威尔展览期间，裸体丑闻的影响挥之不去；他在作品中对性的表达变得越来越谨慎，并希望避免被雷诺伊(Renoir)的裸体推敲而引起的粗俗指责。然而，这两位画家在他们的作品中都有一种对古典形式的爱好，一种圆润的身材，一种源自地中海文化古老艺术的理想化JINGSHEN。身体，尤其是裸体，是古典主义者的主题。马蒂斯和毕加索越来越多地转向古典主义，他们都崇拜雷诺阿。1917年年底，马蒂斯拜访了雷诺阿，并在1918年又去了几次，而毕加索则会对他的经销商保罗·罗森博格库存中的雷诺阿晚期画作产生越来越浓厚的兴趣，并为自己买一幅。

莫迪利亚尼在米迪的逗留期间，已经开始放弃他在早期绘画中使用的一些立体派风格。虽然他在职业生涯结束前一直保留着蒙帕纳斯时期的一些标志性的怪癖-比如简化头部和身体的轮廓，以及失明的杏仁眼-但从1917年开始，这些肖像以艺术家对人类形象的描绘中日益增加的自然主义而闻名。莫迪利亚尼抵达法国南部时，这一趋势就得到了加强。在那里，艺术家还采用了较薄的画质，利用地面的白度辐射出漆膜，并采用了较轻的调色板，以反映新环境的晶莹剔透。

莫迪利亚尼也转向了新的话题。与巴黎人艺术家、诗人、朋友和赞助人的圈子分开，他现在把尼斯及其周边地区的当地居民当作他的榜样，他们比波西米亚蒙帕纳斯(Montparnasse)老练的城市居民更能直截了当、富有同情心。Werner Schmalenbach写道：

“正是在这个时候，莫迪利亚尼成为了素朴、无名的画家。他画了普通男人和女人的肖像：园丁，学徒，年轻农民，女仆，女药剂师，偶尔还有一个孩子[无花果]。这不是出于对社会评论的渴望，而是出于强烈的“人类”兴趣.他们表达了一种沉默寡言但强烈表达内心的同情，并取得了极大的痛苦.这就好像是为了公平对待这些简单的人，画家放弃了他的审美口才，好像他在使用色彩上比平常更加克制，好像他在悄悄地接近他的保姆，几乎是害羞的样子。正是在这一小群从男女朋友的肖像中脱颖而出的绘画中，塞尚重新出现在莫迪利亚尼的作品中，与其说是以绘画的方式，不如说是在人类的视野中。莫迪利亚尼的所有作品都有着同样安静的音调，几乎是植物人的存在，还有一种更强烈的人类理解，因为没有什么是礼貌的。阿梅迪奥·莫迪利亚尼，慕尼黑，1990年，第43至44页)。

现在的这幅画是莫迪利亚尼1918年画的三幅油画中的一幅，也许是第一幅完成的。这幅画的特征是同一位年轻的女性模特，在一种脱衣舞戏弄的进步阶段。在第二张图中(Ceroni，编号265；图2)。3)她把手伸进胸前，把衣服的带子完全松开了。在第三张图中(Ceroni，No.266；图3-4)她露出了两个乳房，完成了她的手的动作：她现在用杯子丰胸，这比前两个版本显得更丰满。这只手的定位，也出现在1917年的贝里斯·威尔展览中。1)，是典型的姿态金星乳糖。它出现在著名的美第奇维纳斯，公元前一世纪罗马抄袭普拉克斯泰利斯之后，以及波提切利的。金星的诞生(图)5)在基督教艺术中，这种姿势成为象征玛利亚乳糖神的母亲在其中，将她的爱揭示为对灵魂的滋养，就像母亲的奶是给她的孩子的一样。在Ceroni，Patani和另一个目录条目中，Modigliani绘画中的模型被称为挤奶女工(见莫迪利亚尼：忧郁的天使，“禁止酷刑公约”，卢森堡部长，巴黎，2002年，p。(326)，这反映了这种古典的，甚至是宗教的暗示，但可能不是她真正的职业。挤奶女工通常是一个年轻的女孩，她生活在农场上，在成人的某种程度上受到父母或雇主的监督。莫迪利亚尼会冒很大的风险，如果他诱使这样一个女孩以这种方式为他摆姿势-就像埃贡·希勒一样，他可能会因为危害未成年人的道德而被关进省级监狱。这位年轻漂亮的模特肯定是个年轻的妓女，他的邻居之一在尼斯的廉价旅馆里，莫迪利亚尼在米迪的大部分逗留期间都住在那里。塔玛·加布解释了裸体模特在莫迪利亚尼的绘画中所扮演的角色：

“她是什么意思？男性艺术家作为创作者的身份与她的被动物质性形成对比？的他的性或她兽性？艺术许可和性自由之间的等价物作为它的对立面的隐喻-资产阶级阳刚之气和家庭生活的约束和调节？所有这些还有更多.。这就是为什么现代主义的新努力可以被看作是与实际的.该模型在可识别的奇点中坦率的起伏是艺术脱衣舞的一个意符。莫迪利亚尼：超越神话，“猫”，“犹太博物馆”，纽约，2004年，p。68.)。

(图)1)Amedeo Modigliani，Vénus(Nu Decout，Nu Médicis)，1917年。纽约佳士得拍卖行，2006年11月8日，第31卷。条形码25062793

(图)2)Amedeo Modigliani，朱恩角，1918年。伦敦佳士得拍卖行，2007年2月6日，第15号地段。条形码25010565

(图)3)Amedeo Modigliani，乔瓦内·罗莎在卡米西亚，1918年。私人收藏。条形码25010572

(图)4)Amedeo Modigliani，Giovane Rossa在Camicia，seduta su un divano(La Giovane Lattaia)，1918年。私人收藏。条形码25010589

(图)5)Sandro Botticelli，金星的诞生(细节)，约1485年。佛罗伦萨Gallería degli Uffizi条形码20627423

(图)6)Amedeo Modigliani，1918年，在他给Jeanne Hébuterne的照片中。档案珍妮·赫伯恩。条形码25240269

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。瑞士籍医生奥斯卡·普费斯特，认为他患有严重的JINGSHEN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JINGSHEN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)

Jeune fille assise en chemise

成交總額USD 16,841,000

估價USD 9,000,000 - USD 12,000,000

拍賣 1900

Impressionist and Modern Art Evening Sale

紐約|2007年11月6日

拍品 54

signed 'Modigliani' (upper right)

oil on canvas

32 1/8 x 21 7/8 in. (81.5 x 55.6 cm.)

Painted in 1918

來源

Léopold Zborowski, Paris.

Leon Brillouin, New York.

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

Jacques Lindon, New York.

Mr. and Mrs. Max Kettner, New York.

Marlborough Gallery, Inc., New York.

Mr. and Mrs. Keith Barish, Los Angeles (acquired from the above, 1970).

ACA Galleries, New York.

Lee Vandervelde, New York (by 1976).

Marion O. Hoffman Trust; sale, Sotheby's, New York, 15 May 1984, lot 46.

Hammer Gallery, New York.

Anon. sale, Christie's, New York, 12 May 1998, lot. 33.

Acquired at the above sale by the present owner.

展览历史

New York, The American-British Art Center; Chicago, The Arts Club; Milwaukee, Art Center, and Cincinnati, The Contemporary Arts Center, Amedeo Modigliani, November 1944-May 1959, no. 19.

New York, Acquavella Galleries, Inc., Loan Exhibition, Amedeo Modigliani, For the Benefit of The Museum of Modern Art, New York, October-November 1971, no. 33 (illustrated in color).

Tokyo, The National Museum of Modern Art, and Nagoya, Aichi Prefectural Art Gallery, Modigliani, July-November 1985, p. 115 (illustrated, no. 93).