The Italian painter has fascinated Paris art

The Italian painter has fascinated Paris art

15 December, 2017 | Share Article


The Tate Modern Museum of London, showing the various aspects of Modigliani’s life and activities by presenting his artworks.


These days, the third floor of the London’s Tate Modern museum is very busy and crowded. Since the opening and launch of the museum, enthusiasts of visual artists from various countries are eager to watch Modigliani’s artworks, the well-known Italian artist. They line up at the entrance to the fair so they can see the paintings and a number of sculptures of the artist.

 

Modigliani’s artworks from beginning of his emigration to Paris until his death in a country far from his motherland are presented in one of the greatest salons in the third floor of the museum; because of that, they named the first hall as “Beginning of the change”.

 

The work of Modigliani in this salon begins with references to changing the place of life and artistic activity and offering a self-portrait of the Painter. It seems that during the years 1884-1886 he left Italy to develop his knowledge and skills as an artist at the age of 21, leaving his homeland to Paris. The best place for a young artist at that time.

Although Modigliani was born in a well-educated family who was always encouraged and educated as a painter, Paris seemed to be very exciting with a variety of styles and new dreamy way to think, see, and challenge her art.
The self-portrait of Modigliani was painted around 1915, giving it a gift to himself as PIERROT. This work soon revealed his position among his colleagues.
Apparently, in a new place among the new people, the young Italian artist was ready to create himself.
 
 

 

 

 

Passing through the first hall and before entering the next hall, the audience passes through a small dark room where they watch the old documentary, black and white, from the places where the artist works. They will play a short film for which seems very long and interesting for audiences because they can be well acquainted with the actual pictures of the places where the artist lived.
The other hall is called "Urban Life," in which references to the presence of Modigliani in Paris and its emphasis on contemporary art and influences from artists such as Paul Cézanne. It was as if using the brighter colors and moving the softer brush on the canvas was a new manifestation of his work during this period.

 

 

 

 

Modigliani as a sculpture


The exhibition is followed by three salons, titled "Paris Modigliani: Film Project," "Great Ideas," and "Modigliani as a sculpture". According to available information, the Montmarter, his first residence has a different location than the rest of Paris, known as a village on a hill in the north of the city. Although despite its rural environment, because of theaters, cinemas, dancing for its own credit, this place has attracted the interest of this artist and his friends to the image and cinema, and turned it into entertainment and gatherings of their night. After a while, he moves to Montparnasse, where he has been filled with various galleries, attracted all the poets, writers and artists of different nationalities, and gathered to see each other and talk about their work.
 

 

 

 

 

The years 1911 to 1913 were a short and prolonged period for Modigliani. He focused extensively on sculpture; he initiated schemes that may have been the starting points for the idea of sculptures that he had in mind. Meanwhile, visiting Parisian museums such as Louvre and ... gave him and many other artists the opportunity to be acquainted with art on a wider scale. He had free impressions of the observation of objects, paintings and ancient Egyptian sculptures, Cambodia and Ivory Coast. Meanwhile, enjoying styles of Egyptian fashion has been fashionable. He benefited from the idea of the Egyptian people that heaped everything up.

 

 

 

 

Many recognized him for his sculptures. The sculptures that are now featured at the Tate London Museum include seven statues of the head that were exhibited from October to November 1912 as an annual art exhibition in the Paris Diaton hall. Indeed, the only significant exhibit that Modigliani held throughout his life. He later abandoned the problem because of the dust that was caused by scrubbing and illness that infected him during his childhood.
Creative Networks "," Undead Family” and “Modern Nudes” are other parts of the exhibition. In some of his expressive paintings, he uses the style of Monmart's friends and Monte Parnassus. Most of the artworks done in the radical cubism dimension is depicted in flat and abstract forms. Similarly, when Modigliani painted a painting from Spanish painter Juan Grace and French artist Henry Larves, he profiled them into an angular view of the original Cubism style, although he experienced the style of cubism, but never visualized imagery Even when Picasso praised him, he did not give up.

 

 

 

 

Although he was one of the most enthusiastic members of the multi-national network of the creative network, he was somehow marginalized, even when he was portraying, he did not receive verbal and linguistic support from the critics who were associated with them, because he was a Jew and then in France Anti-Semitic behaviors were widespread.
In explaining the tableau of the "Ghostly Family" salon, it came out that a decade after he came to Paris, he created an environment around him. He was a reputation among the partners of Mont Parmas, a poet, actor, musician and writer, and received their creative qualities while experimenting with MARK MAKING and LETTERING techniques. At times, even the names of the subjects were painted on the canvas.

 

 

 

 

One of the hallmarks of this hall is a picture of HASTING BEATRICE, which their love time did not last for a long time, and was lost due to much debate. Although this short period gave them both much creativity.
"Departing to the South" shows another part of the exhibition. The last months of the First World War, when Paris was attacked by warplanes, his health worsened. Therefore, Zubrosky, a sponsor of Modigliani, decided to send her artists to RIVIERA. Modigliani was worried because the change wich could change his situation as well. However, given the departure of some of his friends in the south, he could still be involved. He created some of his most powerful works in south of NICE. He worked very fast. He used the model of the local kids and his friends as models in the south, often portraying them in warm, Mediterranean colors. He returned to Paris in 1919 after the end of the war.

 


 

 

Virtual journey to hundred years ago in Modigliani’s studio    


Perhaps one of the most attractive parts of this exhibition is the "Atelier Modigliani” Hall. His latest studio is still around 100 years after his death. Although it appears to have undergone major changes, it is possible to imagine what works were created in the future by studying and documenting documents and methods of work. Accordingly, the hall is designed to allow viewers to imagine and modify their workplace by putting 3-D simulator devices on their eyes. Interestingly enough, due to lack of space and time, visitors should already make tickets so that they can go to the Modigliani virtual studio on their visit at the specified hour.
The last hall is "The Circle of Close People." Although Modigliani knew many people, only a few of them are present in his works. These people had the closest relationship with him, and most of the models are more intimate with him. (Zobrowski) and Modigliani‘s wife (Hanlazborowska) are present in a number of his works. In fact, his wife has the most presence in the artist's paintings.

 

 

 

 

These paintings show him in a variety of different dresses. From the girly appearance to the woven hair behind the pregnant woman with confidence. If he continued to work as a distinct artist with the same elegance, he would probably have created different faces from his wife. He died in the chest of addiction and bad health that deteriorated every day; eventually he died in January 1920 at the age of 35, while his wife was about to give birth to their second child. The last painting, which he installed on the wall of his exhibition, and the last work He is considered to be late in life, portraying himself a self-confident and artisan artist with a palette.

 

 

 

It should be noted that the exhibition will start on November 23 and will run until April 2, 2018.