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Скачать или смотреть The Works by Amedeo Modigliani: 73. Portrait of Girl in a green blouse (1917)

  • Steve J
  • 2020-11-22
  • 70
The Works by Amedeo Modigliani: 73. Portrait of Girl in a green blouse (1917)
ModiglianiPainterArtPaintingGirl in a green blouseExpressionismPortraitChester Dale CollectionBignou GalleryNational Gallery of ArtYouTubeSeungyong ChangArt DealerModigliani Institute KoreaArt Collage JANG모딜리아니화가미술회화초록색 블라우스를 입은 소녀의 초상표현주의초상화체스터 데일 콜렉션비뉴 갤러리미국 국립 미술관유튜브장승용아트 딜러한국 모딜리아니 연구소아트 꼴라쥬 JANG
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Описание к видео The Works by Amedeo Modigliani: 73. Portrait of Girl in a green blouse (1917)

How are you?

Modigliani Institute Korea (MIK) is currently introducing artworks of Amedeo Modigliani one by one every week.

The 73rd work to introduce for this week is “Portrait of Girl in a green blouse” in 1917.

This work is an expressionist style portrait and an oil painting on a canvas with the size of 81.3 x 46 cm.

Modigliani's signature, having no typical rules, is also very anomalous in this work. In addition, the front letters such as m, o and d in the signature seem to be added again after writing, and since it becomes more blurry as it goes backwards, Modigliani seems to have signed using the paint barely remaining in the brush.

Compared to other works of Modigliani, this work is mostly composed as bright and light-color tones.

The contours of the model's hair, eyebrows, eyes, nose and mouth are blurry, and the model's skin is white and pale like a sick person, and her blouse has a very pale green color, while her earrings and skirt are painted in dark colors, which stands out in this work.

Such feeling is rarely found in other works of Modigliani in 1917, when he painted this work, and at the time he typically used shadows rather than such treatments to control depth.

Most part of the model in this work are faint and hazy, and the pale skin like a sick person and gloomy expression of the model, along with these colors, look like that the model is suffering from an incurable disease.

One interesting thing of this work is that there are human prints on the top and bottom, which probably occurred when the painting was completed and not completely dry.

This work was purchased by the Chester Dale Collection in New York from Bignou Gallery in Paris in 1927, and then bequest to the National Gallery of Art in Washington, D.C. in 1963.

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