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Modigliani also often painted with his pre-stretched canvas on an easel, which is evidenced by voids of paint in the lower front edge where the lip of the easel shielded the canvas from the paint (see, for instance, the MoMA Reclining Nude; fig.11).
However, even before these instances, the artist was clearly reusing canvases. In some of his earliest works, such as two from 1908 now in private collections, Bust of a Young Girl (C10) and Nude Study (C8), Modigliani seems to have used works by other artists, turned 180 degrees, as supports.
This, combined with the incomplete set of tacking holes evident on the Yale portrait, may suggest that the smaller paintings were created while tacked onto a flat support and later stretched, necessitating an adaptation to a pre-existing stretcher to match Modigliani’s estimated dimensions.
By 1912, Modigliani was exhibiting highly stylized sculptures with Cubists of the Section d'Or group at the Salon d'Automne. Modigliani's oeuvre includes paintings and drawings. From 1909 to 1914, he devoted himself mainly to sculpture.
As Modigliani and his art dealer were purchasing premade canvases from manufacturers in Paris and the south of France, this path of research can authenticate a Modigliani painting beyond reasonable doubt.
Excitingly, within our small sample group, exact matches did occur. We cannot be sure that Modigliani obtained a roll of canvas from his dealers to stretch up himself, rather than buying ready-made supports from a colour merchant, but it now seems likely.
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What color paint did Modigliani use?
Dec 2, 2017 · Modigliani’s “blank-eyed” portraits began much later in his lifetime. It should be noted that even if there is an absence of the “windows to the soul,” the subject’s character is reflected through their elongated gesture. A simple head tilt could say a lot about the woman or man on the canvas.
