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  1. Through technical analysis of the artist’s materials and processes, the article charts the development of this well-known body of work, expanding the corpus of paintings under investigation to eight nudes painted between 1916 and 1919. Amedeo Modigliani painted the nude model throughout his career.

  2. Nude (1917), oil painting created in 1917 by Italian painter and sculptor Amedeo Modigliani, one of dozens of nudes that he painted between 1916 and 1919. These nudes are among the most important portraits of the 20th century.

  3. Between 1916 and 1917, the avant-garde and controversial Modigliani painted several female nudes. Female Nude is one of Modigliani's most beautiful and seductive nudes, but this is far...

    • His nudes were very controversial. For his first and only solo exhibition, Modigliani painted a series of nudes, which are now among his most famous paintings.
    • He loved poetry. I do not think I have ever met a painter who loved poetry so much. Ilya Ehrenburg. Modigliani was said to regularly recite Dante and other poets from memory.
    • He drew constantly. To do any work, I must have a living person ... I must be able to see him opposite me. Amedeo Modigliani. Modigliani loved to draw from life.
    • His sculptures may be made from stolen stone. For a few years of his life Modigliani abandoned painting to focus on sculpture. He was even chosen to exhibit in the Salon d’Automne in 1912, a great honour for a young artist at the time.
  4. This striking female nude is one of several painted by Amedeo Modigliani between 1916 and 1917. Beyond the reclining figure’s apparent gracefulness and tranquillity, the painting presents a radical reworking of the conventions of figure painting, which still retains some of its original provocation today.

  5. Apr 24, 2018 · As Modigliani’s greatest painting from his legendary series of nudes, Nu couché (sur le côté gauche) will undoubtedly stop traffic again as it goes on public exhibition in Hong Kong from 25–26 April and New York on 4 May.

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  7. In Reclining nude on a white cushion Modigliani did not ful- ly extend the flesh paint to the lower edge of the composition, leaving a small section of the blue priming exposed.