The Ulster Museum is Home to the Courtauld Institute owned Female Nude 1916 by Modigliani for several months and is currently on display on Level 4. until Oct 28 2018.
In 1916 Amedeo Modigliani made his mark on the roll call of innovative painters and artists by discovering for himself a means of reaching beyond the normal day to day portrayal of figures and in observing their forms and persona. His breakthrough was immense and it presided alongside other expressionist painters as signalling their forging of a method of seeing which hitherto had been associated with the primitive art of African or Tribal representation, themselves suggestions of nation or people in the essence of their existence, in the moment to be taken as informative of them and the way they saw themselves.
There were several parallel ongoing pursuits of these ‘laws of lawless art.’ The extent to which Modigliani was alone in achieving a breakthrough of this magnitude is a debate matching infinity. Races singled out the line and drew on walls or on pottery, or paper symbols of the most interesting thing around them, themselves. The human shape and deportment became a goal of self realisation and the life force found was firstly lent in these simple lines as a record alongside animals and adornments while they often were seen sans clothes or with few garments. It became their projection and mirror.
Beyond the Western ideal and sanctuary of patronage and mostly hierarchal societal record including the religious there was a necessary alteration by the twentieth century, of placing a fresh editorial gaze on the act of seeing humans and how they inhabit a picture throwing new light literally on the viewers perceived recited notions of self and arts role in life. Some later exponents went beyond this as indeed did the practioners themselves. Picasso became an obsessive and many would say a misogynist which is see often in his work.
F. E. McWilliam’s Gallery Banbridge Co. down. Glass cabinet image.
The precious object that is Modigliani Female nude 1916 is in a small room of the Ulster Museum for a short period and the high Victorian windows are draped partially with protective white cloth filtering the streams of daylight found illuminating the pictures within. The filter works and the natural light is subdued. The daylight lamps of the artificial supplementary light is carefully graded in its presence allowing the vivid colour and individuality of this work to convey its communicative self to the viewer. Many have been and return to see it time and again because there is no solitary promised answer in reading the painting and it is continually rich in its candid figurative depiction.
You can see a window reflected in the glass protection of the painting top left.
Other paintings such as the O’Brien do not have glass only canvas and paint between it and the viewer.
What is seen is a figure of a female regards but not regarding by returning a look. She is in a pose which neither is common or contrived. The purpose of line is a first engagement this painter makes with his model figure. She is neither a form meant to reveal a representative body or shape of a female but is a woman whose occupation or purpose is to lead the painter towards the aim of finding a means of conveying more than the body as a form but to imbibe an essence of a human who happens to have the appealing form of a woman in her full force of life.
Woman’s Head. Artist:Amedeo Modigliani (Italian, Livorno 1884–1920 Paris)
Dimensions:26 7/8 × 6 1/4 × 9 1/2 in. (68.3 × 15.9 × 24.1 cm)
Weight: 75 lb. (34 kg), Classification:Sculpture
Credit Line:The Mr. and Mrs. Klaus G. Perls Collection, 1997
By the time Modigliani has reached this point in his life he has tried his first love, sculpture but like many artists before him it did not lend him its mystery to enable his thoughts to come out in those three dimensions.
In 1909, after meeting Constantin Brancusi, Modigliani began to produce sculptures by carving into stone, completing about twenty-five works throughout his short career. The style of these abstracted, elongated heads is echoed in his subsequent figure and portrait paintings. Fittingly, this particular head, with its strong connection to African sculpture, was originally owned by the American artist and African art collector Frank Burty Haviland. Haviland lived in France and Modigliani became familiar with his collection. In addition to African art, Modigliani’s sculptures reflect his knowledge of ancient Cycladic, Sumerian, Egyptian, and Greek art. Met Museum text.
The Romanian Brancusi was a favourite and revered friend of Modigliani and the connection is not lost in the application of visual effects as one is now finding the essence of his work accessed through the simple device of line on one plane.
Simple it maybe but it is incalculably intimate in its dynamic.
The piece is regarded as having an unorthodoxy in art taking it back to the primordial instinctive throwback beyond the renaissance and challenged th mores of the world of patronage of the arts while taking out the sensuous and sexualised component and objective servile diminished role played elements often seen band depicted previously in the horizontal form that feminine objectivity Picasso had shown ‘the regard as thief of the jewels of womanhood in his Les Demoiselles d’Avignon.
Les Demoiselles d’Avignon. Painting by Pablo Picasso and a Photo by David Bailey
That regard in Les Demoiselles d’Avignon being sent back with spades to the viewer looking into the collective as a band of protective women creating a homogeneous foil and asking questions of the one who seeks insight of them/selves.
At the age of 35 Amedeo Modigliani became the victim of Tuberculosis and died following his earlier periods of poor health. With his frailty he was occupied in hiding the illnesses he had succumbed to by the apparent act of concealment through drug abuse and alcoholism. In order to appear as someone whose outward demeanor may have been taken as a consequence of the behaviours of alcohol and drug consumption among his fellow artists he nevertheless was in a worse state of decline than those afflictions might have has on him. He was know as a poetic and romantic womanizer with his personality and health possibly driving him to those distractions.
In the models flesh tones are seen the blue faint covering of the ground where his technique has built up, through modifications and layers, a semi transparency as flesh is seen damaged and slightly coarse having it seems been achieved by hard bristles and Amedeo stabbing and stippling of the bodies fleshy tones. It is not overly done as the blue tinges are apparent beneath. Also the belly is raised by the luminousity of a white globe of her stomach giving another view and state of fecundity.
White is found in the left arm in the elbow crevice and I took that to signify and it probably is not!, vitiligo as the meaning of her vulnerable working body might be found lacking in minerals and vitamins out of a poor diet. A kind of symbolism entering. Then there are other ‘marks’ and these are widely accepted, as the appear in the lower parts of the painting due to studio carelessness.
They add, do not detract from the vitality and energy coming through the painting. This is itself a derivation of a style which an artist displaying his continued and unsettled enjoyment of his own work is temporarily in a state of transition and wondering where on the next canvas abrushes mark should be made.
The production of his ‘muse’ through this nude figure is strikingly provocative in that it undermines the stasis and unsettles by its uncompromising frankness and the perfect non sexual overtones but the strength of the woman’s body as human strongly over arching the whole of the notion of ourselves as species.
How extraordinarily perceptive and resolved this work has become in complete conflict with its dynamic and continual motion and emotional projection. This surely must have been a component in Amedeo‘s sense of himself as an artist despite his longing to be a sculptor he had reached further than his peers and created a new radicalism in acceptance of flawed beauty in painting.
There is undoubtedly life in this painting after its seemingly resolved completion. It disowns tranquility, it abhors looking as a sexualised object, it resents the act of being regarded, it shows its point of belonging in human form. There seems to be an act disassociated of itself from its locality in the composed space by the organisation of the blue ground which in the higher part is more consistent and less disturbed than the lower segment implying a wall and floor where the red couch is protected in a vague white soiled sheet just visible beneath the buttocks of the model and affording some protection in its placement.
My sketch pastel begins! A2. The next stage is at the foot.
The Painting & Paint colour
What if it were a drawing and without ‘colour’? I imagined it as firstly about the act of line drawing which it has a distinctive attribute. Then I posited the thought that ‘colour’ is only an embellishment. The rendering to produce light and share dynamics. This is a very wrong attitude with which to approach it.
The form of light and shadows is fully realised, in black and white by modern photographers such as one who put this above all other considerations, David Bailey.
The conquest is seeing what the light produces but Bailey’s work is akin to drawing, being in black and white. Here in this painting the evolution from the line element takes many side moves. The hair in the left is seen having been taken in, maybe a bulk of hair existed formerly and was painted back; it certainly appears that way, to effect the outlines flow rather than truly represent it and the right hand, possibly present and visible at one point, is kept hidden to achieve the flow of the line.
Then there is the mystery or discarding of a primary light point. There is only the front universal point of light which negates reasoning as to where shadow is found. The paint itself is the shading element and it’s texture the convenience delivered by brush marks and of a sharp gouging effected in the hair for example giving that plural feeling of it having neither a source but being in sculptural form a third dimension advancing with movement. Under a kind of universal light.
Perfectly flawed it is a hard act to follow and this is as I opined earlier a feature I believe which gave impetus and cause for Amedeo to produce further and more challenging work.
The maturity of the return to painting in a further simplified and reduction of marks is seen in his later work as he is vexed by the ‘treatments’ and beautiful wonderous lines of centuries before and the earlier, the more profound, its own examination rewarded him in discovery.
A year or so ago I wrote this on the predicament of the model whose anonymity is transparent as she is neither the object of the completed work nor a character assumed from the past. The aloneness and emptiness is striking now when I think of the Modigliani pursuit of his art when consumed by this painting.
Some negative aspects relating to the curation.
If there are some criticisms of the room and it’s interpretation of the lineage and common approaches to be made, it is the use of very tenuous art held by the Gallery in its own collection as a stark contrasting difference. The delivery is failing in many places. Using the ‘theme’ of the model is the route taken, not the act of the mark and the line. The servile component of life modeling is a trope and not what the painting is primarily about. Ratifying it by using a ‘portrait’ by a local artist even a twentieth century one is laying claim to small connections. So what if the artist in the glass mosaic is featured herself within the work shown?
Being in the work as model is neither near or revelatory in the nakedness sense giving a threadbare tribute? To artists, imagined scoping is outside the context and in fact a distraction of quite harmful presence. There is in the ‘life model’ comparisons, only one showing the contrast between a vertical nude and horizontal nude; the latter being the previous approach taken all through and since the renaissance. A wandering connection again is made and it is a mighty problematic one, conflicting and not a complementary distraction.
In the O’Brien Life model with a barely visible child, as with the laundry woman, there is no substantive connection whatsoever in setting it alongside, in the room as a ‘relief’ of emphasis or anything else. An allusion is taken in respect of ‘women in 1918’ which is quite facile and out of kilter with the main work. This phenomenon goes back centuries and still exists. It is wholly utilised in this way I find, because of what the UM has in its collection and is clutching at straw metaphors.
The best thing to do is to ignore the room’s additional works and concentrate on the immensity of the work and avoid this distracting padding. The abstraction of colour and choices made to effect a flow had gone missing in all other work. I found myself sketching one, the face below for example, merely to find the quality of line. I also looked at the effect of a pastel line drawing on blue paper to see the effect of the colours magic within the painting and it is obvious the line and oil is a combination which is spectacularly successful here because of it’s transparency, luminosity, roughness and eveness in parts as handled and dispersed here.
It ended up as this. I believe the reason it became so different and colour, which is such an incredible thing to realise in seeing the actual painting with the blue and flesh tones coming out at you from the canvas means it needed something entirly different in approach when using something other than oil paint. This is pastel on an A3 size pastel textured blue sheet.
3 July 2018
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