391_ MODIGLIANI 6 (WidesScreen)

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

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MODIGLIANI 6/9 TRANSFORMATION 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

6 Part six:

6 Part six We already saw in the first part ... The beginning of his life We already saw in the two part ... Art student years We a lready saw in the third part … Micheli and the Macchiaioli We already saw in the four part … Early literary influences We already saw in the five part … Paris, arrival .

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Transformation Within a year of arriving in Paris, however, his demeanour and reputation had changed dramatically. He transformed himself from a dapper academician artist into a sort of prince of vagabonds. The poet and journalist Louis Latourette , upon visiting the artist's previously well-appointed studio after his transformation, discovered the place in upheaval, the Renaissance reproductions discarded from the walls, the plush drapes in disarray. Modigliani was already an alcoholic and a drug addict by this time, and his studio reflected this. Modigliani's behaviour at this time sheds some light upon his developing style as an artist, in that the studio had become almost a sacrificial effigy for all that he resented about the academic art that had marked his life and his training up to that point.

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Seated Nude , 1917

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Not only did he remove all the trappings of his bourgeois heritage from his studio, but he also set about destroying practically all of his own early work. He explained this extraordinary course of actions to his astonished neighbours thus: "Childish baubles, done when I was a dirty bourgeois. [12] "

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The motivation for this violent rejection of his earlier self is the subject of considerable speculation. The self-destructive tendencies may have stemmed from his tuberculosis and the knowledge (or presumption) that the disease had essentially marked him for an early death; within the artists' quarter, many faced the same sentence, and the typical response was to set about enjoying life while it lasted, principally by indulging in self-destructive actions. Portrait of Léopold Survage , 1918

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For Modigliani such behaviour may have been a response to a lack of recognition; he sought the company of artists such as Utrillo and Soutine, seeking acceptance and validation for his work from his colleagues. [12] Modigliani's behavior stood out even in these Bohemian surroundings: he carried on frequent affairs, drank heavily, and used absinthe and hashish. While drunk, he would sometimes strip himself naked at social gatherings. [13] He became the epitome of the tragic artist, creating a posthumous legend almost as well-known as that of Vincent van Gogh. Portrait of Chaim Soutine, 1916

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Seated Nude on a Sofa, 1917

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Portrait of a Woman with a White Collar, 1917

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During the 1920s, in the wake of Modigliani's career and spurred on by comments by André Salmon crediting hashish and absinthe with the genesis of Modigliani's style, many hopefuls tried to emulate his "success" by embarking on a path of substance abuse and bohemian excess. Salmon claimed—erroneously—that whereas Modigliani was a totally pedestrian artist when sober, " ...from the day that he abandoned himself to certain forms of debauchery, an unexpected light came upon him, transforming his art. From that day on, he became one who must be counted among the masters of living art. [14]"

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The maid , 1916

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Girl in a White Chemise

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While this propaganda served as a rallying cry to those with a romantic longing to be a tragic, doomed artist, these strategies did not produce unique artistic insights or techniques in those who did not already have them. In fact, art historians suggest [14] that it is entirely possible for Modigliani to have achieved even greater artistic heights had he not been immured in, and destroyed by, his own self-indulgences. We can only speculate what he might have accomplished had he emerged intact from his self-destructive explorations.

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References 12. a b Werner, Alfred (1967). Amedeo Modigliani . London: Thames and Hudson.. pp. 19. 13. a b Werner, Alfred (1985). Amedeo Modigliani . New York: Harry N. Abrams , Inc.. pp. 24. ISBN 0-8109-1416-6. 14. a b Werner, Alfred (1967). Amedeo Modigliani . London: Thames and Hudson.. pp. 20.

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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 “Mare d’inverno” 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 six SEE YOU SOON ! You can keep listening to the music or press "ESC" to exit

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