388_MODIGLIANI 3 (WidesScreen)

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Beautiful slideshow created by Bernard Hardy. Published with her kind permission.

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MODIGLIANI 3/9 MICHELI AND THE MACCHIAIOLI COPYRIGHTS TO ALL PHOTOS BELONG TO THE ORIGINAL AUTHORS 1884 1920

FIRST PART THE BEGINNING OF HIS LIFE. PART TWO ART STUDENT YEARS. THIRD PART MICHELI AND THE MACCHIAIOLI.PART FOUR EARLY LITERARY INFLUENCES.PART FIVE PARIS, ARRIVAL.PART SIX TRANSFORMATION.PART SEVEN OUTPUT, SCULPTURE, QUESTION OF INFLUENCES.PART EIGHTH THE WAR YEARS , JEANNE HÉBUTERNE.PART NINTH NICE, DEATH, LEGACY, CINEMA. : 

FIRST PART THE BEGINNING OF HIS LIFE. PART TWO ART STUDENT YEARS. THIRD PART MICHELI AND THE MACCHIAIOLI.PART FOUR EARLY LITERARY INFLUENCES.PART FIVE PARIS, ARRIVAL.PART SIX TRANSFORMATION.PART SEVEN OUTPUT, SCULPTURE, QUESTION OF INFLUENCES.PART EIGHTH THE WAR YEARS , JEANNE HÉBUTERNE.PART NINTH NICE, DEATH, LEGACY, CINEMA. THIS SERIES CONSISTS OF 9 SEPARATE PARTS Slideshow automatic or manual for your comfort of reading

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3Third part We already saw in the first part … The beginning of his life We already saw in the part two … Art student years ....

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This minor, localized landscape movement was possessed of a need to react against the bourgeois stylings of the academic genre painters. While sympathetically connected to (and actually pre-dating) the French Impressionists, the Macchiaioli did not make the same impact upon international art culture as did the contemporaries and followers of Monet, and are today largely forgotten outside of Italy. Modigliani's connection with the movement was through Guglielmo Micheli, his first art teacher. Micheli was not only a Macchiaiolo himself, but had been a pupil of the famous Giovanni Fattori, a founder of the movement.

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Seated Boy with Cap ( 1918)

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Micheli's work, however, was so fashionable and the genre so commonplace that the young Modigliani reacted against it, preferring to ignore the obsession with landscape that, as with French Impressionism, characterized the movement. Micheli also tried to encourage his pupils to paint en plein air, but Modigliani never really got a taste for this style of working, sketching in cafés, but preferring to paint indoors, and especially in his own studio. Even when compelled to paint landscapes (three are known to exist),[7] Modigliani chose a proto-Cubist palette more akin to Cézanne than to the Macchiaioli.

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Portrait of a Young Man

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Portrait of a Woman 1917-1919

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1918

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Busto de mulher, 1919

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While with Micheli, Modigliani not only studied landscape, but also portraiture, still-life, and the nude. His fellow students recall that the latter was where he displayed his greatest talent, and apparently this was not an entirely academic pursuit for the teenager: when not painting nudes, he was occupied with seducing the household maid.[6] Despite his rejection of the Macchiaioli approach, Modigliani nonetheless found favour with his teacher, who referred to him as "Superman", a pet name reflecting the fact that Modigliani was not only quite adept at his art, but also that he regularly quoted from Nietzsche's Thus Spoke Zarathustra. 1917

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Portrait of Blaise Cendrars

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Chaim Soutine - 1916 Fattori himself would often visit the studio, and approved of the young artist's innovations.[8] In 1902, Modigliani continued what was to be a life-long infatuation with life drawing, enrolling in the Accademia di Belle Arti (Scuola Libera di Nudo, or "Free School of Nude Studies") in Florence.

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A year later while still suffering from tuberculosis, he moved to Venice, where he registered to study at the Istituto di Belle Arti. It is in Venice that he first smoked hashish and, rather than studying, began to spend time frequenting disreputable parts of the city. Chaim Soutine - 1916

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Reclining Nude, 1917

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Reclining Nude, 1919

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The impact of these lifestyle choices upon his developing artistic style is open to conjecture, although these choices do seem to be more than simple teenage rebellion, or the cliched hedonism and bohemianism that was almost expected of artists of the time; his pursuit of the seedier side of life appears to have roots in his appreciation of radical philosophies, including those of Nietzsche. Portrait of Frank Haviland Burty, 1914

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Tree and house, 1919

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References 6. a b Mann, Carol (1980). Modigliani. London: Thames and Hudson.. pp. 12. ISBN 0-500-20176-5.  7. Werner, Alfred (1967). Amedeo Modigliani. London: Thames and Hudson.. p. 16.  8. a b Mann, Carol (1980). Modigliani. London: Thames and Hudson.. p. 16. ISBN 0-500-20176-5.

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Texts Wikipedia CREATIVE COMMONS http://en.wikipedia.org/wiki/Amedeo_Modigliani Photos Images from Internet (These photos is in the public domain in the United States ) Music Sulla strada del ritorno par Walter Mazzaccaro - Preview of “Sula strada del ritorno” CREATIVE COMMONS - Licence by-nc-sa 3.0 http://creativecommons.org/licenses/by-nc-sa/3.0/ COPYRIGHTS TO ALL PHOTOS BELONG TO THE ORIGINAL AUTHORS

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End of part three SEE YOU SOON ! You can keep listening to the music or press "ESC" to exit

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