亚美迪欧莫迪利安尼《两个女孩》伦敦佳士得.docx

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亚美迪欧莫迪利安尼《两个女孩》伦敦佳士得

亚美迪欧·莫迪利安尼《两个女孩》（伦敦佳士得2015）

亚美迪欧·莫迪利安尼两个女孩Lesdeux

filles伦敦佳士得2015.2成交价758.65万英镑作品介绍Lesdeuxfillesisoneofonlyfiveknowndoubleportraits

paintedbyModiglianitohavebeenrecordedbyAmbrogioCeroniin

his1970catalogueraisonné.Throughouthisentireoeuvre,

Modiglianigenerallydedicatedhimselftotheisolatedfigure,

exploringnocompositionaldeviceotherthanasinglehumanbeing

viewedfacetoface.Forthemostpart,itwasenoughforthe

artist'sintenseobservationofindividualcharacterizationto

engagewithasinglemodel,yethisrareventuresintomultiple

figurearrangementsareremarkablefortheirinsightintohuman

relationshipsandtheenergycommunicatedbydifferentidentities.

OfModigliani'sfivedoubleportraits,twoareportraitsofbridal

couples,thehighlystylizedLesépouxof1915（formerlyinthe

collectionoftheMuseumofModernArt,NewYork,Ceronino.55）

andthecelebratedportraitofhisclosefriend,thesculptor

JacquesLipchitzandhiswifeBertha（1916,ArtInstituteof

Chicago,Ceronino.161）.Theseworkscelebratetheunionbetween

womanandman,whilstModigliani'sotherdoubleportraitswould

addressthethemeofmotherandchild（Femmeassiseavecunenfant,

1919,Muséed'ArtModerne,Villeneuve-d'Ascq,Ceronino.334;and

Gitaneavecunenfant,1918,Ceronino.247,NationalGalleryof

Art,Washington）-picturesthatowemuchtoModigliani'sItalian

inheritanceandhisenduringloveoftheearlyRenaissancemasters.

Lesdeuxfillesisatenderandperceptivepaintingthatexplores

theconnectionbetweentwoyounggirls,possiblysisters,whom

Modiglianihasdescribedinarefinedvisuallanguagethatisboth

compellinglysubjectiveandintuitive.

SeveraloftheearlyliteraturereferencestoLesdeuxfilles

suggestthatthecompositionwaspaintedin1917whenModigliani

wasworkinginParis,includingArthurPfannsteil's1929monograph,

inwhichhedescribesthesittersas'twoflowersgrowingfromthe

pavingstonesofthebigcity'（op.cit.,p.119）.However,the

paintinghassincebeenattributedto1918inpublicationsby

Ceroni,OsvaldoPataniandChristianParisotandisnowconsidered

tobepartofagroupofportraitsdedicatedtotheportrayalof

childrenthatModiglianipaintedwhilsthewaslivingandworking

intheSouthofFrance（Ceroni,op.cit.,p.100）.Modigliani

travelledtotheC?

ted'AzurinMarch1918andremainedtherefor

overayear.ThedeprivationsoftheFirstWorldWar,theshortage

offoodandcoalhadweakenedthepainter'shealthandwhenthe

bombardmentofParisbegan,hisdealerLéopoldZborowskidecidedto

followthevastnumbersfleeingtheperilouscapitalfortheSouth,

takinghiscontingentofartistsandtheirclosestcompanionswith

him.Cha?

mSoutine,TsuguharuFoujitaandFernandeBarreywereall

includedinZborowski'sentourage,andModiglianiwasaccompanied

byhispregnantmistress,JeanneHébuterneandhermother.亚美迪欧·莫迪利安尼两个女孩Lesdeux

filles局部PartofZborowski'splaningoingtotheSouthofFrancewas

tosellworks,andespeciallypicturesbyModigliani,totherich

clientelethathewassurestillhauntedthegrandandfashionable

hotelsinNiceandCagnes,havingwitnessedthemonapriorvisit.

However,thisplancametonought,andhebarelymanagedtoscrape

togetherenoughtoexistupon--hiscostsonlyincreasedwhenthe

variouselementswithinthegroupinsisteduponstayingunder

differentroofs.Thislackoffortunehadadirecteffectonthe

paintingsofModigliani,especiallyintermsofcontent,forthe

portraitcommissionsthatZborowskihadoptimisticallyassumed

wouldmaterialisefailedtodosoandhewasnolongerabletopay

forprofessionalmodelsashehaddoneinParis.Asaconsequence,

Zborowski'swifeandJeannesatformanyofModigliani'spictures,

butwithtensionsmountingwithinthefamilygroup,hefoundit

increasinglynecessarytorelyonthelocalpeoplearoundhim.This

isalmostcertainlyoneofthereasonsthatLesdeuxfilleswas

painted.Yet,itwasnotonlythelackofmodelsthatledhimto

paintsomanypicturesofyoungpeopleduringthisperiod.Inpart,

itmayhavebeentheprospectofimminentfatherhoodthatincreased

hisinterestinthemasasubject,aswellashisdesiretocapture

theirengagingcharactersandpurityofspirit.

Modigliani'sintelligentawarenessofhissitter's

personalitiesistheresultofhislong-standingsearchfora

visualwindowintothesoulandhewasclearlyinterestedinthe

personaofthebrunettegirlinthisimageashealsodepictedher

inasisterpicture,Fillettedeboutentabliernoir（1918,

Kunstmuseum,Basel,Ceronino.241）.BothFillettedebouten

tabliernoirandtheslightlylargerLesdeuxfilleshavebeen

exhibitedtogetheronnumerousoccasionstounderlinetheirclose

relationship,includingexhibitionsinParisandMarseillein1958

andDüsseldorfandZurichin1991.Inhischaracteristicstudyof

anisolatedmodelrenderedinthree-quarterlength,Modigliani

depictsthedelicatelyfeatured,dark-hairedgirlstandinginan

interiorthatsharesthesubtleandmasterfullyhandledsuffusion

ofgreen,greysandochrehues.Thispaintingcontainsanentirely

differentcompositionaldynamictotheasymmetryofLesdeux

filles,withitsgrid-likestructureprovidedbythecounterbalance

ofthehorizontallinesofthechestofdrawersandthestrong

verticalityofthegirl'spose.Modiglianienhanceshersenseof

childishnessandvulnerabilityinFillettedeboutentabliernoir

bydepictingherwithherhandshanginglooselybyhersidesand

herheadtiltedataninquisitiveandsomewhatawkwardangle.亚美迪欧·莫迪利安尼两个女孩Lesdeux

filles局部InLesdeuxfillesthissamegirlappearsolder,witha

seductivelyheightenedcolourationandsophisticatedhairstylethat

contrastswiththenaturalandrelaxedappearanceoftheyounger

child.Thisjuxtapositiongrantsanalmostmaternalaspecttothe

oldergirlandcreatesaremarkablysensitivecharacterizationof

thetransitionfromchildhoodtothethresholdofwomanhood.

Althoughtherelationshipbetweentheseyoungmodelsisunknown,it

appearsModiglianideliberatelychosethemfortheiropposing

characteristics;thefairhair,blueeyesandcleanwhitepinafore

oftheyoungergirlcontrastingwiththeelder'sdarkcolouringand

blacksmock.Thissamesmock,withitsdiscreetembroideryand

scratched-inseamworkisalsowornbyadifferentmodelinabust

portraitfromthisperiod,indicatingthismaywellhavebeena

localschooluniform（Jeunefilleblondeenbuste,1919,Ceronino.

296）.Whilstthemodelinthelaterportraitisdepictedwithblank

voidsforeyes,Modiglianiclearlydefineshissitter'sirisesin

thepresentworktolendthemanengagingpresencethatconveysa

truesenseofthegirls'shy,yetcandidnatureandperhapseven

theircuriositywiththeartistandtheartisticprocess.

Modigliani'sempathytowardshisunknownsittersduringthis

periodhasbeenevocativelydescribedbyhisdaughter,Jeanne

Modigliani,whopossiblyreferstoLesdeuxfillesasbeingan

imagefromParis,indicatingtherewasstillsomedebateoverits

dateatthetime:

'Atthistime,Modigliani'sattitudetowardsand

thedepictionofhismodelsbecamecalmerandmorepeaceful.The

apprentice,theporter'sson,themaidinCagnes,littleMaria,the

twogirlsinParis,allenterModigliani'spictorialworldwitha

saddignity.Theirinteriorvision,capturedinaprivatedream,

accentuatestheirsolitudeandatthesametimeenshrinestheir

moralitywithapoetichalo.Theirstatusinlifeiscertainlynot

ahappyone,buttheypossessnobilityandmoralvalues.Theyare

themostconvincingwitnessesofthebeautyandgoodnessof

mankind'（J.Modiglianicitedin'ModiglianisansLégende',exh.

cat.,AmedeoModigliani,1884-1920,MuséeNationald'ArtModerne,

Paris,1981,p.89）.亚美迪欧·莫迪利安尼两个女孩Lesdeux

filles局部Intheirsubtlepsychologicalinsight,pictureslikeLesdeux

fillesoweasubstantialdebttotheportraitsofCézanne.

ModiglianigreatlyadmiredthepicturesofCézanneandhismoveto

theMidi,wheretheoldermasterhadpaintedthroughouthislife,

mayhaveintensifiedModigliani'sengagementwithhiswork.

Notably,manyofCézanne'sportraitsfromthe1890sdepictchildren

andpeasantsandarerenderedwiththesamesympathyandpassive

monumentalitythatModiglianibringstohissittersageneration

later.ThecomplexsenseofspaceandmassinCézanne'sportraits

hadadeepandlastinginfluenceonModigliani'sownportrait

style,asdidtheplanardistortionsoftheprimitivemasksheso

admired.Thesevisualreferencescontributetotheex-pressive

energyandimbalanceinLesdeuxfilles,particularlyinthe

renderingoftheyoungergirl'sface,whichfeaturesa

multidirectionalanalysisofspacesimilartothatusedbythe

Cubists.Thisdeliberatedistortionisusedtoheightenthetension

betweenthetwomodels,contrastingasenseofmovementcompatible

withtheunsettledtemperamentofayoungchildwiththeserenely

femininenatureoftheoldergirltocreateanimagethat

powerfullyevokestheeventualpathtomaturity.

LesdeuxfillesclearlydisplaysModigliani'svirtuosofeeling

forpaint.Hisobsessionforrefininghissubjectsintosimple,

interlockingcurvilinearformsisevidentinthepentimentivisible

belowthehandsoftheyoungerchild,wherepencillineschartout

hismethodofperfectingthecomposition.Modigliani'shandlingof

pigmentvariesacrossthecanvas,fromthethinscumbledbrushwork

usedtodiffusethevariegatedhuesofthebackgroundtothehighly

viscoustexturesonthefiguresandchair,thepaintingmanifestsa

passionateinvolvementwith