“Modigliani, Les Femmes” in Spoleto.

Amedeo Modigliani Institute is starting to promote the centenary of the death of Master Amedeo Modigliani (1920-2020) with an exhibition contemplating works with new LED technology and unpublished photographs of the Master.

Les Femmes Modigliani
Les Femmes Modigliani

Thirty copies (backlit LED technology) almost identical to his original portraits (size and color) that remember his women, an authentic plaster of a bronze face sculpture, a video documentary and the new original painting still not attributed, Dede renamed “Odette”. This exhibition started June 23, 2016 at the Spoleto Festival 59 which was part of visual arts expo and continues until September 10, 2016, at the charming Palazzo Tordelli Spoleto (Pg) in Corso Mazzini, 46.
It’s a unique opportunity to see gathered together in a direct comparison works that would be impossible alternately since the Modigliani artworks owners are collectors very jealous. Let’s look at an example only to the canvas “Nu Couche” (1916-18), awarded by auction to the rich Chinese Liu Yiqian for 170 million US dollars and paid by credit card

Nu Couche
Nu Couche

.Technology at Art service makes possible reflections and very interesting advances. Once the technology, the news, were not very well seen by the artists. The same Modigliani (Livorno 1884 – Paris 1920), would jealously surprised to see gathered in a gallery all his women. Amedeo is a revolutionary artist Art bohemian with no appreciation for technology. It was never tempted by the futurism, speed, technique and science, proposing instead a concept throughout its development of man: the beauty due at the portrait studio, the female body, which expressly restated in his paintings. A short life (he died at 35), but loved intense research to aesthetics, transgressive style. Dandy and bohemian is immortalized in a highly sought clothing. Dressed in the traditional hunting land of origin dress. Lucca jacket back in fashion in 90’s by the famous tailor Art and Fashion f.lli Morganti of Castagneto Carducci, who was highly respected in the period by most important nobility. The result can be summarized in very strong and intense colors in warm shades, sharp contrasts, extreme simplification of the fills, care always very elongated line and ‘Gothic’ is the body, eyes and neck, always very elegant intimating poses, few elements on the scene, symbology. A special feature distinguishes the works that he painted for Jeanne Hebuterne always with very high-necked dresses and other women stripping shameless. Italian critic Vittorio Sgarbi had already been expressed in regard to Modigliani. Strangely, for the reputation of a critic of feminine beauty, he argues that it is not an author who inspires him a lot. He does not make a lot of controversy, even if he compares Modigliani not so much to his contemporary luckiest Picasso, for elongated face of African masks, but even to the most authoritative pre-Renaissance. He didn’t want say nothing about Odette, he only asked the study performed documentation for a more accurate analysis and reserving comment for the moment.

Gennaro Arbia, ten years ago, discover the painting in a dumpster in Rome. We can now see “Odette” in its original form. A unique opportunity for everyone to confront artistic work directly visually, a face-to-face with the mysteries of Art.


Modigliani not coincidentally is the artist on which more focused speculation attribution of works of art. A unique style that is not difficult to imitate. After that the famous Livorno students and especially the port worker joke for critics, to mark the centenary of Modigliani birth in 1984. An operation that led to bare the deterrent power of the media and critics ‘politicized’. But above all it has made it clear that no power is as strong as that of the true genius who is able to destabilize the power itself with the strength of its communication and harmless gambling. Yet it seems that the lesson is not enough because the art has never shaken off inept speculators mislead the market hindering the reputation of real talent. The criticism, the market, the magazines are full of ultravalued authors. With a marketing mix between criticism, media and auction sales are created silly masters, that create other silly…
I directly measured very closely with Dede and it is not a very simple task. Despite all the scientific studies that have been submitted after the experience of the esteemed Prof. Alberto D’Atanasio, the results of which provide a guarantee of unique compatibility with the material date (canvas and frame) and dirty, and yet still lack the results tests of studies to dress, garments, gifts, historical analysis and so on, people remains literally powerless to make a final decision, even it was in front of the most beautiful woman of the universe. Even in a photo studio for greater commitment and datail no evidence suggest a decisive key. Zooming a little bit in the right side, brightening the dark, you can extract the Symbolist details that seem to suggest the 66 and we know Modi care for these items. A very symmetrical paonting, an almost alien expression, sober like Jeanne, color from greenish hue, bluish anti passionate, eyes are not painted, garçonne hair cut typical period.
Odette Hayden, said dedie, first wife of the Cubist painter Henry Hayden (1883-1970) realizes Modigliani 3 portraits dated 1917 – 1918 -1919.
Experts laboratories pool (Milan and Spoleto) have dated the painting from 1917 to 1918 compatible with the dates and then confirming that this is definitely not a fake. At this point we have only two possibilities: the autor is Modigliani or some people close to him. If we attribute it to Modigliani we have no problems. But it is not a Modigliani who could have had an interest in that period to paint Odette with Modigliani style and sign on its behalf? Modigliani girlfriend, Jeanne, herself a painter? The husband of the model, Henry, cubist painter, out of jealousy?
It is probably more consistent attribution to Modigliani, but some details are not very clear. Dede does not have the typical volume of the works of Modì and clashes with the scientific analysis that confirms the compatibility. Do not forget that Modigliani used to smoke, alcohol, wormwood and style could on occasion be altered. However we can not but thank the Prof.Datanasio, the Institute Modigliani, whose interest in the evaluation of this work of art offer the very important moments in Arts, having discovered an oil on canvas that, laboratories say that it is compatible with the originality of the period. Already this is a significant result compared to the end of the transalpine experts, and new lesson that is learned, that if in Punic period romans were winning war, in 2016 critics men are …
In the exhibition you can also appreciate a biographical journey of the Master with help of highly trained guides such as the gallery owner Alessandra always perfect with her guests and university students of arts courses by Prof.D’Atanasio.

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