亚美迪欧·莫迪利安尼《雕塑家奥斯卡·米切纳诺夫画像》（纽约佳士得2007）

亚美迪欧·莫迪利安尼雕塑家奥斯卡·米切纳诺夫画像纽约佳士得2007.11成交价3084.1万美元

作品介绍

Depicting the sculptor Oscar Miestchaninoff, the presentpainting is one of an important group of several dozen portraits byModigliani that record the artists, writers, dealers, andcollectors who frequented bohemian Montparnasse during the waryears. Taken together, these works constitute a veritable visualhistory of Left Bank culture in the second decade of the twentiethcentury. Werner Schmalenbach has written, "In his portraits,without ever setting out to be so, Modigliani was a chronicler ofthe vie bohème of Montparnasse, the district where in his time theartistic life of the French capital was being transformed. Hepainted so many people from this world that one is almost impelledto ask whom he did not paint. Modigliani was part of this bohème ina highly personal and indeed an exemplary way. In the eyes of hiscontemporaries, he was--as he has remained--its epitome" (in exh.cat., op. cit., Paris, 2002, p. 33). Coinciding with Modigliani'sreturn to painting after concentrating almost exclusively onsculpture for several years, the portraits of 1915-1916 also occupya preeminent place in the artist's stylistic development. AsSchmalenbach has declared, "These are the works with whichModigliani has earned his place in the history of art" (ibid., p.33).

When Modigliani moved to Montparnasse from Montmartre in late1908 or early 1909, the neighborhood had already earned areputation as the center of avant-garde artistic life in Paris.Lively, cosmopolitan, and sophisticated, Montparnasse was home tohundreds of artists and writers from dozens of different countries.The Café de la Rotonde, situated on the Boulevard du Montparnasse,functioned as the principal gathering place for this group, whichincluded Picasso, Juan Gris, Diego Rivera, Chaïm Soutine, JacquesLipchitz, and Max Jacob, among many others. An article on theRotonde from the June 3, 1917 issue of Le Cri de Paris describedthe atmosphere there: "It is a very welcoming establishment and agood place to sit down. It has been chosen as the headquarters bythose men, the cubist painters. That is where they gather. That iswhere we can see their pope, Monsieur Picasso, surrounded by hiscardinals, Messieurs Kisling, Modigliani, Ortiz de Zarate, etc.That is where their prophets Messieurs Guillaume Apollinaire andAndré Salmon establish their attack plans against the bourgeoisspirit and debate between them the most abstruse questions ofpyramidal, spherical, cylindrical, and conical aesthetics" (quotedin K. Wayne, op. cit., p. 21).

The highly charged environment of Montparnasse, with its broadrange of cultural stimuli, was essential for the development ofModigliani's art. Born into a Sephardic Jewish family in thethriving Italian port of Livorno, a thoroughfare for traders fromall around the Mediterranean, Modigliani had a cosmopolitanbackground that made him especially open to the rich inspiration ofMontparnasse. His mature style, which crystallized in 1915-1916,incorporates a vast array of artistic influences, from theRenaissance painting of his native Italy to the African andEgyptian art on display in the celebrated Montparnasse shop of thedealer Joseph Brummer. Kenneth Wayne has written, "Theinternationalism of the Montparnasse artist's community is itssingle most defining characteristic and a key point to considerwhen evaluating the art that developed there in the early twentiethcentury... Of the many distinguished artists who worked inMontparnasse, Modigliani had perhaps the widest range ofdiscernible sources, making him the ultimate Montparnassesophisticate and the quintessential figure of this extraordinarytime and place" (op. cit., pp. 16-17). Using this signature hybridof Western and non-Western styles, Modigliani painted the culturalmelting pot of Montparnasse, creating what Emily Bran has called "aportrait of otherness within modern Europe" (in Modigliani: Beyondthe Myth, exh. cat., The Jewish Museum, New York, 2004, pp.25-26).

Oscar Miestchaninoff, the subject of the present portrait, wasthe son of a Jewish shopkeeper from the Russian town of Vitebsk.Born in 1886, Miestchaninoff studied sculpture briefly at theOdessa School of Fine Arts before moving to Paris in 1909. He tookan apartment in the Cité Falguière, an important artists' residencein Montparnasse, with numerous ground-floor studios that appealedespecially to sculptors. Modigliani, who devoted himself almostexclusively to sculpture between 1909 and 1914, was already livingat the Cité Falguière when Miestchaninoff arrived, and it is likelythat the two artists met shortly thereafter. Miestchaninoff workedin a classicizing style and was one of the few non-Cubist artistswhom Modigliani painted. He briefly attended classes at the Écoledes Arts Décoratifs and the École des Beaux-Arts before enrollingin the Académie Russe, an independent artists' academy inMontparnasse that catered especially to Russian émigrés. In theevenings, the Académie hosted open sketching sessions from a livemodel, which both Modigliani and Miestchaninoff's close friendSoutine are known to have frequented. Although his work is littleknown today, Miestchaninoff enjoyed a degree of professional andfinancial success during his lifetime, frequently exhibiting withother Jewish artists. He moved to the United States during WorldWar II and remained there until his death in 1956.

The present painting is striking character study of theRussian sculptor, depicted at the age of thirty. It shows himseated with his hands firmly planted on his lap, a pose thatrecalls both Ingres's Monsieur Bertin (fig. 1) and Picasso's famous1906 portrait of Gertrude Stein (the latter painted while bothPicasso and Modigliani were living at the Bâteau Lavoir inMontmartre). In contrast to his predecessors, however, Modiglianihas positioned his sitter frontally, pushing Miestchaninoff's bodyclose to the foreground plane and aligning him with the verticaland horizontal axes of the picture. The hieratic presence of thefigure is relieved only by the slight tilt of the head and neck andby the subtle torsion of the shoulders and hips. The positioning ofthe hands suggests both confidence and a casual awkwardness on thepart of the sitter. Miestchaninoff is clad in a blue mechanic'sshirt, a garment that was favored by many artists in theMontparnasse circle. In 1916, the same year as the present work,Modigliani painted two portraits depicting the Polish artist MoïseKisling, one of his closest friends, in a closely comparable poseand similar attire (fig. 2; see also Christie's New York, 1November 2005, Lot 44).

A noteworthy feature of the present painting is its delicatebalance between generic qualities and signs of individuality. Thephysiognomic details of the portrait are unmistakably those ofMiestchaninoff, especially the plump cheeks, high forehead, doublechin, and slightly bulbous nose. These same traits are all apparentin a photograph of the sculptor dressed as a gypsy, taken at acostume party in Paris around 1914 (fig. 3). Modigliani himselfstressed the importance of the specific individual, telling thecubist painter Léopold Survage, "To do any work, I must have aliving person. I must be able to see him opposite me" (quoted in S.Fraquelli, Modigliani and His Models, exh. cat., London, 2006, p.31). Yet Modigliani has subjected Miestchaninoff's facial featuresto a series of pronounced formal stylizations, translating theminto his distinctive pictorial idiom. The eyes are asymmetrical,the lips pursed, and the nose spatulated; the contours of the faceare sculptural and incisive, recalling Modigliani's lengthyexperience as a stone-carver. The result is a series of unsettlingdisjunctions, most evident in the application of a rosy, life-likeflush on the sitter's otherwise mask-like visage. Tamar Garb hasrecently proposed that these tensions represent the material traceof Modigliani's deliberate negotiation of the role of portraiturein the modern era:

"Portraiture in the first half of the twentieth century,having been dealt the double death-blow of Cubism on the one hand,with its radical refusal of mimesis and naturalism, and Africansculpture on the other, with its highly conceptual representationalstrategies and its use of a coded shorthand of referents andsymbols, struggled to find a means of incorporating thesefundamental insights while remaining committed to the depiction ofdiscrete, named individuals. Modigliani's portrait practiceinternalized the iconoclasm of Cubism and the liberatory power ofprimitivism at the same time that it affirmed its commitment to theconventional function of the portrait: the adumbration andcelebration of the named individual... The power of Modigliani'sportraits lies in their capacity to render the tensions between thegeneric and the specific, the mask and the face, the endemic andthe particular--indeed, to thematize the problematic of portraiturefor this generation. Composed from the materials of history and theparts of the body, they leave all their seams visible, awkward yeteloquent, on the painted surface" (in exh. cat., op. cit., NewYork, 2004, pp. 44, 53).

The tension between naturalism and abstraction thatcharacterizes Modigliani's portraiture was noted even during hislifetime. The poet Jean Cocteau, whose portrait Modigliani paintedin 1916, wrote, "It was not Modigliani who distorted and lengthenedthe face, who established its asymmetry, knocked out one of theeyes, elongated the neck. All of this happened in his heart. Andthis is how he drew us at the tables in the Café de la Rotonde;this is how he saw us, loved us, felt us, disagreed or fought withus. His drawing was a silent conversation, a dialogue between hislines and ours. We were all subordinated to his style, to a typethat he carried within himself, and he automatically looked forfaces that resembled the configuration that he required, both fromman and woman. Resemblance is actually nothing more than a pretextthat allows the painter to confirm the picture that is in his mind.And by that one does not mean an actual, physical picture, but themystery of one's own genius" (quoted in D. Krystof, AmedeoModigliani, 1884-1920: The Poetry of Seeing, Cologne, 2000, p.54).

Modigliani depicted Miestchaninoff on at least two otheroccasions. In 1917, he painted a second, smaller portrait of thesculptor (fig. 4), in which the round face, double chin, rosycheeks, and full lips of the present version re-appear. This laterportrait shows only the head and shoulders of the sitter, who isnow clad in a black suit and tie and a white shirt. In thebackground of the picture, Modigliani inscribed the word 'Mechan',recalling the mechanic's smock that Miestchaninoff wears in thepresent portrait. In 1918, Modigliani made a delicate pencildrawing of Miestchaninoff in profile (fig. 5). Diego Rivera andChaïm Soutine also painted portraits of Miestchaninoff during hisyears in Montparnasse. Rivera's portrait (fig. 6), which depictsthe sculptor at work in his studio, is notable for its fragmentedplanes and spatial compression, Soutine's version (fig. 7) for itsemotional intensity and ex-pressive effects. Schmalenbach hascompared the present portrait of Miestchaninoff with Soutine'srendering of the same sitter:

"Soutine's portraits, like all of his paintings, are theutterances of a man who seems driven to ex-press an existentialtruth; they are full of disquiet and of powerful ex-pressivedistortion, in utter contrast to Modigliani's lofty formaldiscipline. Modigliani formalized his people in a totallyunex-pressive manner, whereas Soutine tests every sitter todestruction. In these two friends, Modigliani and Soutine, the twogreat evolutionary currents of early twentieth-century art meet:the currents that bear the names of Cézanne and van Gogh. Theextreme contrast is particularly interesting in one pair ofpaintings in which both artists portray the same person, thesculptor Miestchaninoff. Modigliani, economical as ever in hisdeployment of color and of form, paints the man in all tranquilityand objectivity. Soutine projects all his inner unrest onto hissubject, although the latter faces him just as quietly and asfrontally as he does Modigliani" (op. cit., p. 42).

(fig. 1) Jean-Auguste-Dominique Ingres, Portrait deLouis-François Bertin, 1832. Musée du Louvre, Paris. BARCODE25249637

(fig. 2) Amedeo Modigliani, Moïse Kisling devant une fenêtre,1916. Musée d'Art Moderne, Villeneuve d'Ascq. BARCODE26000633

(fig. 3) Photograph of Oscar Miestchaninoff, circa 1914.BARCODE 26000596

(fig. 4) Amedeo Modigliani, Portrait de Oscar Miestchaninoff,1917. Private Collection. BARCODE 26000602

(fig. 5) Amedeo Modigliani, Portrait de Oscar Miestchaninoff,1918. Museum of Modern Art, New York. BARCODE 26000640

(fig. 6) Diego Rivera, Portrait de Oscar Miestchaninoff, lesculpteur, 1913. Property of the State of Veracruz. BARCODE25249644

(fig. 7) Chaïm Soutine, Portrait de Oscar Miestchaninoff,1923-1924. Musée National d'Art Moderne, Paris. BARCODE26000626

参考译文

这幅画描绘了雕塑家奥斯卡·麦斯坎尼诺夫，是莫迪利亚尼的几十幅肖像中的一幅，记录了战争年代经常光顾波西米亚蒙帕纳斯的艺术家、作家、商人和收藏家。综合起来，这些作品构成了二十世纪第二个十年左岸文化的真实视觉历史。沃纳·施马伦巴赫写道：“在他的肖像中，莫迪利亚尼从来没有打算这样做，他是一位记事员。维·波梅在他那个时代，法国首都蒙帕纳斯的艺术生活正在发生变化。他画了这么多来自这个世界的人，几乎迫使人问他没有画谁。莫迪利亚尼就是其中之一博埃梅以一种高度个人化的，甚至是模范的方式。在他同时代的人看来，他是-就像他一直以来一样-是他的缩影“(如猫.行了。，巴黎，2002年，p.33)。1915-1916年，莫迪利亚尼在几乎完全专注于雕塑之后又重新开始绘画，而1915-1916年的肖像在这位艺术家的文体发展中也占据了突出的位置。正如Schmalenbach所说，“莫迪利亚尼用这些作品在艺术史上赢得了一席之地”(同上。，p.33)。

当莫迪利亚尼在1908年末或1909年初从蒙马特搬到蒙帕纳斯时，这个社区已经赢得了巴黎先锋派艺术生活中心的美誉。蒙帕纳斯生机勃勃、国际化、世故，是来自数十个不同国家的数百名艺术家和作家的故乡。位于蒙帕纳斯大道上的罗通德咖啡馆是该集团的主要聚会场所，其中包括毕加索、胡安·格里斯、迭戈·里维拉、查伊姆·苏廷、雅克·利普奇茨和马克斯·雅各布等许多人。一篇关于1917年6月3日出版的“罗通德”的文章LeCri deParis描述那里的气氛：“这是一个非常欢迎的机构和一个好地方坐下来。它被那些立体派画家们选为总部。那就是他们聚集的地方。在那里，我们可以看到他们的教皇毕加索先生，被他的红衣主教、基斯林先生、莫迪利亚尼先生、萨拉特先生等包围着。这就是他们的预言家纪尧姆·阿波罗内尔和安德烈·萨尔蒙在那里确立了他们对资产阶级精神的攻击计划，以及他们之间最深奥的金字塔、球形、圆柱形和锥形美学问题“(引用于K·韦恩的话，行了，p.21)

蒙帕纳斯的高负荷环境及其广泛的文化刺激，对莫迪利亚尼艺术的发展至关重要。莫迪利亚尼出生在繁荣的意大利利沃诺港的一个犹太家庭，这里是地中海各地商人的一条大道。莫迪利亚尼有着国际化的背景，这使他对蒙帕纳斯岛的丰富灵感特别开放。他成熟的风格，形成于1915-1916年，包含了广泛的艺术影响，从文艺复兴时期他的祖国意大利的绘画，到在著名的商人约瑟夫·布鲁默的蒙帕纳斯商店展出的非洲和埃及艺术。肯尼斯·韦恩写过：“蒙帕纳斯艺术家社区的国际主义是它唯一最具决定性的特点，也是评估二十世纪初在那里发展起来的艺术时要考虑的一个关键点。”在许多在蒙帕纳斯工作的杰出艺术家中，莫迪利亚尼也许有着最广泛的可辨别的来源，使他成为蒙帕纳斯最老练的人，也是这个非凡的时代和地方的典型人物“(行了。，第16-17页)。莫迪利亚尼利用这种西方风格和非西方风格的混合，描绘了蒙帕纳斯的文化熔炉，创造了艾米莉·布兰所称的“现代欧洲内部的异己画像”。莫迪利亚尼：超越神话，“禁止酷刑”，“犹太博物馆”，纽约，2004年，第25-26页)。

这幅画像的主题是奥斯卡·米斯特切尼诺夫，他是来自俄罗斯维捷布斯克的一位犹太店主的儿子。出生于1886年的梅斯察尼诺夫曾在敖德萨美术学院短暂学习雕塑，1909年搬到巴黎。他在法尔吉埃城(CitéFalguière)租了一套公寓，这是一座位于蒙帕纳斯的重要艺术家住宅，里面有许多地下工作室，特别吸引了雕塑家。莫迪利亚尼在1909年至1914年期间几乎只专注于雕塑，当米斯特恰尼诺夫抵达时，他已经住在法尔吉埃城了，很可能两位艺术家在不久之后就见面了。麦斯坎尼诺夫以一种古典主义的风格工作，是莫迪利亚尼所画的为数不多的非立体派艺术家之一。他曾短暂参加艺术学院和Beaux艺术学院的课程，然后进入位于蒙帕纳斯的独立艺术家学院AcadémieRusse，专门迎合俄语。米格..在晚上，Académie举办了一个现场模特的开放式素描会，莫迪利亚尼和米斯特查尼诺夫的密友苏特琳都经常去。尽管他的作品如今鲜为人知，但在他的有生之年，他在专业和经济上都取得了一定程度的成功，经常与其他犹太艺术家一起参展。他在第二次世界大战期间移居美国，直到1956年去世。

这幅画是俄罗斯雕刻家在三十岁时所描绘的一幅引人注目的人物研究作品。它展示了他坐着，双手牢牢地放在膝盖上，这一姿势让人想起了两人的姿势。贝尔廷先生(图)毕加索1906年著名的格特鲁德·斯坦肖像画(后者在毕加索和莫迪利亚尼都住在蒙马特的拉沃尔)。然而，与他的前辈们不同的是，莫迪利亚尼把他的保姆放在了前面，把他的身体推到了前景平面附近，并将他与图片的垂直和水平轴对齐。只有通过头部和颈部的轻微倾斜以及肩膀和臀部的微妙扭动，才能减轻这个形象的层次性。手的位置既表明了自信，也表明了保姆的随意尴尬。Miestchaninoff穿着一件蓝色的技工衬衫，这是蒙帕纳斯圈许多艺术家喜欢的一件衣服。1916年，也就是目前作品的同一年，莫迪利亚尼画了两幅肖像，描绘了波兰艺术家莫伊塞·基斯林(MoseKisling)，他是他最亲密的朋友之一。2另见佳士得纽约，2005年11月1日，第44号地段)。

当代绘画的一个显著特点是它在共性品质和个性符号之间的微妙平衡。这幅画像的相貌细节是明确的，特别是丰满的脸颊、高高的前额、双下巴和略圆的鼻子。1914年在巴黎的一个化装派对上，这位雕塑家装扮成吉普赛人的照片中，这些特征都很明显(无花果)。3)。莫迪利亚尼本人强调了特定个体的重要性，他告诉立体派画家莱奥波德·苏瓦奇：“要做任何工作，我必须有一个有生命的人。我必须能够看到他在我对面“(引用S.Fraquelli的话)，莫迪利亚尼及其模型，“禁止酷刑”，伦敦，2006年，p。31)。然而，莫迪利亚尼却让麦斯坎尼诺夫的面部特征受到一系列明显的正式文体的影响，并将它们转化为他独特的绘画成语。眼睛是不对称的，嘴唇是张开的，鼻子是飞溅的；脸的轮廓是雕刻的和精辟的，这让人想起莫迪利亚尼作为一个石刻者的漫长经历。其结果是一系列令人不安的分离，最明显的是，在保姆的面具般的面部表情上应用了一种玫瑰色的、像生活一样的红晕。塔马尔·加布(TamarGarb)最近提出，这些紧张关系代表了莫迪利亚尼(Modigliani)关于肖像画在现代时代的角色的刻意谈判的物质痕迹：

“在二十世纪上半叶，肖像画受到了双重的致命打击-一方面是立体主义的双重打击，另一方面是它对模仿和自然主义的彻底拒绝；另一方面是非洲雕塑，它具有高度概念性的表象策略，使用了编码的参考和符号速记，它努力寻找一种方法来融合这些基本的洞察力，同时仍然致力于对离散的、被点名的个人的描绘。”莫迪利亚尼的肖像画实践内化了立体主义的精神分裂和原始主义的解放力量，同时也肯定了它对肖像的传统功能的承诺：对指名道姓的个体的推崇和颂扬。莫迪利亚尼肖像画的力量在于它们能使一般的和具体的、面具和脸、流行的和特殊的之间的紧张-实际上，把这一代人的肖像问题化了。由历史的材料和身体的部分组成，他们把所有的接缝都留下可见的、笨拙的、雄辩的，在画的表面上“(如猫)。行了。，纽约，2004年，第44、53页)。

莫迪利亚尼的肖像的特点是自然主义和抽象之间的张力，甚至在他的一生中也被注意到了。诗人让·科克托(JeanCocteau)在1916年画了莫迪利亚尼(Modigliani)的肖像，他写道：“不是莫迪利亚尼扭曲和拉长了脸，是他确立了脸的不对称性，打掉了一只眼睛，拉长了脖子。这一切都发生在他的心里。这就是他在罗通德咖啡馆的餐桌上吸引我们的方式；这就是他如何看待我们，爱我们，感受我们，反对我们或与我们战斗。他的画是一次无声的对话，是他和我们之间的对话。我们都从属于他的风格，一种他内心所承载的类型，他会自动地从男人和女人身上寻找与他所需要的形状相似的面孔。相像其实不过是一个借口，让画家能够确认他心中的画。而这并不意味着一个人真实的、实际的情况，而是一个人自己的天才的神秘“(引用于D.Krystof，阿梅迪奥·莫迪利亚尼(1884-1920)：“看的诗”，科隆，2000年，p。54)。

莫迪利亚尼至少在另外两次描绘了麦斯切尼诺夫。1917年，他为这位雕塑家画了第二幅较小的肖像画。(4)圆脸、双下巴、红润的脸颊、丰满的嘴唇重新出现。这张后来的画像只显示了这位保姆的头和肩膀，他现在穿着黑色西装、领带和白色衬衫。在这幅画的背景下，莫迪利亚尼写下了“Mechan”一词，回忆了Miestchaninoff在这幅画像中所穿的机修工的工作服。1918年，莫迪利亚尼在剖面图中画了一幅精美的梅斯当尼诺夫铅笔(图)。5)。迭戈·里维拉(DiegoRivera)和查伊姆·苏廷(Cha MSoutine)在蒙帕纳斯(Montparnasse)的岁月里，也画了米斯特坎尼诺夫的肖像。里韦拉的肖像(无花果)这位雕塑家在他的工作室里工作，以其支离破碎的平面和空间压缩而闻名，这是Soutine的版本(图)。7)情感强度和表达效果。Schmalenbach将目前的Miestchaninoff肖像与Soutine对同一位保姆的描绘进行了比较：

“像他所有的画一样，Soutine的肖像是一个似乎被驱使去表达存在真理的人的话语；它们充满不安和强烈的表现力扭曲，与莫迪利亚尼崇高的正式纪律完全相反。”莫迪利亚尼以一种完全没有表现力的方式使他的人民正规化，而Soutine则对每一位保姆进行破坏。在这两位朋友中，莫迪利亚尼和苏丁，二十世纪早期艺术的两大进化潮流相遇：以塞尚和梵高的名字命名的潮流。在这两幅画中，两位艺术家都描绘了同一个人-雕刻家麦斯切尼诺夫，这种极端的反差特别有趣。莫迪利亚尼，在色彩和形式的运用上，一如既往地节约，他把这个人描绘得非常平静和客观。Soutine把他内心的不安都投射到了他的话题上，尽管后者和Modigliani一样平静和正面地面对着他。（行了，p.42)。

(图)1)让-奥古斯特-多米尼克·因格斯，弗朗索瓦·贝尔廷，1832年。巴黎卢浮宫。条形码25249637

(图)2)Amedeo Modigliani，Mo se Kisling devant uneFen存在，1916年。Musée d‘Art Mone，Villeneuve d’Ascq条形码26000633

(图)3)奥斯卡·麦斯切尼诺夫的照片，马卡1914年条形码26000596

(图)4)AmedeoModigliani，奥斯卡·麦斯切尼诺夫肖像，1917年。私人收藏。条形码26000602

(图)5)AmedeoModigliani，奥斯卡·麦斯切尼诺夫肖像，1918年。纽约现代艺术博物馆。条形码26000640

(图)6)迭戈·里维拉，肖像画-奥斯卡·麦斯切尼诺夫，勒·雕塑家，1913年。韦拉克鲁斯州的财产。条形码25249644

(图)7)Cha m Soutine，奥斯卡·麦斯切尼诺夫肖像

同名作品

奥斯卡·米切纳诺夫画像 1923-1924 画布油画 83×65厘米法国国家现代艺术博物馆乔治·蓬皮杜中心

画家简介

亚美迪欧·莫迪利安尼（AmedeoModigliani，1884-1920），亦译为“阿梅代奥·莫迪利亚尼”、“莫迪利亚尼”、“莫蒂里安尼”等。意大利表现主义画家、雕塑家，犹太人。莫迪利安尼受到19世纪末期新印象派影响，以及同时期的非洲艺术、立体主义等艺术流派刺激，创作出深具个人风格，以优美弧形为特色的人物肖像画，而成为表现主义画派的代表艺术家之一。莫迪利安尼出生于托斯卡纳的小海港城市里窝那的一个犹太家庭。父亲是商人，母亲是英文教师。自幼体弱多病，学业不佳，性格古怪，沉默寡言，游手好闲，是蒙马特画家圈中最不安分的青年，与酒鬼画家郁特里罗是挚友。他的经历十分坎坷和悲惨。由于体弱多病，到巴黎后生活十分困难，渐渐地形成了酗酒的习惯，在穷苦和麻醉中过着颓废的生活。瑞士籍的精神病医生奥斯卡·普费斯特，认为他患有严重的精神疾患，并由此而确定他在艺术上的表现主义倾向。他说：“受着痛苦经历的驱使而厌恶这个外部世界的时候，那个已知的自我把自己深深埋藏在内心世界之中，并把它自己夸大为世界的创造者。表现派艺术家异常自命不凡，并不是自负，而是从心理上说有充分根据的经验，是一种使远离现实的孤独性格免于崩溃的必要手段。但是，他们这种偏执狂的孤芳自赏，不得不付出痛苦的牺牲。”人们说这位游荡的可怜人身上除充满酒精、毒品外还充满天分，他在挥霍金钱的同时也挥霍自己的天分。他所有的画都是他的自画像和他灵魂的象征。他创造了发泄自己情感的方法，在他的画中包含着，甚至隐藏着一种欲望的满足。莫蒂里安尼是早夭的天才，他的放荡和肺病使他在36岁就离开了人世，一直与他生活在一起的他的最忠实的模特儿和妻子让娜·埃比泰尔纳，在听到他死讯的第二天跳楼自杀。1923年人们在拉雪兹神父公墓为他们举行了合葬仪式。莫迪利安尼过世后名气与日俱增。

莫迪利安尼早年曾跟随画家古列尔莫·米凯利学习绘画。1902年考入威尼斯美术学院，1906年到巴黎，与毕加索等人同在蒙马尔特高地下的民区居住，并且向布朗库西学习雕塑。1912-1917年间，莫迪利安尼形成了他的艺术特色，即运用优美、精练的线条勾画对象的轮廓，然后涂布经过夸张、提炼的浓艳色彩。他接受东方绘画的影响，吸取塞尚表现形态结构的方法，并且把形象通过夸张变形而特别拉长。他笔下的人物并不真实，经过加工之后，画面呈现出一种有韵律的优美节奏。仔细看大部分肖像作品的眼睛大都无神，空洞，法国人评论说：“此时的模特是处在催眠之中。”他的作品构图活泼多变，色彩丰富而富有变化。莫迪利亚尼找到了一种既是图像又是装饰风格的线的艺术语言。这种曲线和涡形，延伸了这种温柔中的严峻、模糊中的朴实，它们很符合现代精神传达的表现主义。莫迪利亚尼给20世纪带来的是一种“战栗的艺术”。法国诗人法朗西斯·卡柯的纪念文章颇有意义：“他的一生有贫困与烦恼，记录了因为与世格格不入而摆脱掉平淡无奇的愿望。它具有一种想要出人头地的特征，并且表明了对惩罚的渴望和达到目的的愿望。……就全部生活而言，就所有缺点和质量而言，就对不幸与特殊的体验、优雅的激流、狂热与猥亵而言，莫迪利亚尼在身后留下的是一个不能很快填满的空白点。”

作品资料

Amedeo Modigliani (1884-1920)

Portrait du sculpteur Oscar Miestchaninoff

成交总额USD 30,841,000

估价USD 18,000,000 - USD 25,000,000

拍卖 1900

Impressionist and Modern Art Evening Sale

纽约|2007年11月6日

拍品 47

signed 'Modigliani.' (upper left) and dated '1916.' (lowerright)

oil on canvas

32 x 25 5/8 in. (81.2 x 65 cm.)

Painted in 1916

来源

César de Hauke, Paris.

Jacques Sarlie, New York; sale, Sotheby & Co., London, 12October 1960, lot 44.

Private collection, Europe (acquired at the above sale);Estate sale, Christie's, New York, 7 November 1995, lot 2.

Private collection, United States (acquired at the abovesale).

展览历史

Cleveland Museum of Art and New York, The Museum of ModernArt, Modigliani: Paintings, Drawings, Sculpture, January-June 1951,p. 51 (illustrated, p. 32).

Paris, Galerie Max Kaganovitch, Oeuvres Choisies du XXeSiècle, May-June 1962, no. 46.

Edinburgh, Royal Scottish Academy and London, The TateGallery, Modigliani, August-November 1963, no. 19 (illustrated, pl.12).

Paris, Centre Georges Pompidou, Paris--Moscou--1900-1930,May-November 1979, no. 164.

Paris, Musée d'Art Moderne de la Ville de Paris, AmedeoModigliani 1884-1920, March-June 1981, no. 40 (illustrated incolor, p. 125).

Dusseldorf, Kunstsammlung Nordrhein-Westfalen and Zurich,Kunsthaus, Ausstellung Amedeo Modigliani, January-July 1991, p.223, no. 44 (illustrated).

Lausanne, Fondation de L'Hérmitage, Modigliani, Utrillo,Soutine, Les peintres de Zborowski et leurs amis, June-October1994, p. 163, no. 5 (illustrated in color).