Instead, his outsider status often compelled him to introduce himself with the words, ‘My name is Modigliani. “His Latin looks and fluency in French could have easily helped him to assimilate. “When he moved to Paris, he came up against the idea of racial purity in French culture - in Italy, he did not feel ostracized for being Jewish,” explains the Jewish Museum. Musée des Beaux-Arts, Rouen, Gift of Blaise Alexandre, 2001 1906, Black crayon, China ink, and watercolor on paper, 22¼ x 14⅝ in. Amedeo Modigliani, Portrait of a Woman Taking Part in a Spiritualist Séance, c. This racial turmoil of early 20 th century Paris was very new to Modigliani, who came from a town rich in cultural acceptance. However, the early 1900s in France were filled with anti-Semitism following the political crisis known as the Dreyfus Affair, which started after Alfred Dreyfus, a Jewish artillery captain in the French army, was falsely convicted of treason. So in 1906, a young Modigliani moved to Paris to broaden his artistic horizons. In addition to his classical education, he also studied classical art, which his family supported. “An Italian Sephardic Jew with a French mother and a classical education, Modigliani was the embodiment of cultural heterogeneity,” notes the release. Modigliani was born in 1884 in Livorno, Italy, to Jewish parents. Jonas image provided by The Museum of Modern Art / Licensed by SCALA / Art Resource, New York Museum of Modern Art, New York, Bequest of Mrs. Amedeo Modigliani, Caryatid, 1914, Gouache and ink on paper, 22¾ x 18½ in. To truly appreciate race’s significance in Modigliani’s art, we must first understand the artist’s background - and the political atmosphere of early 20 th century France. Were these unified features simply a nod to abstraction? Or were they a way to leave his subjects’ heritage united in ambiguity? The long faces and noses, tiny mouths and slanted eyes act as an almost signature in the later portraiture of Modigliani. Private collection on long-term loan to the Musée des Beaux-Arts, Rouenīut what really makes this exhibition so unique is the large portion of works on display that shine a light on the pivotal role Modigliani’s heritage as an Italian Sephardic Jew played in his work. Amedeo Modigliani, Unfinished Portrait of Paul Alexandre, 1913, Oil on canvas, 31½ x 25¾ in. Paul Alexandre, acquired a large selection of the art to be displayed in the one-of-a-kind exhibit - many of which are being shown for the first time in the U.S. The artist’s close friend and first patron, Dr. to focus on the Italian modernist’s early works, according to a museum press release. The Jewish Museum in New York City is offering “ Modigliani Unmasked” from Sept. Amedeo Modigliani Appreciators, Rejoice! Image of Amedeo Modigliani (1884 – 1920).
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