Amedeo Clemente Modigliani (1884 - 1920)

Amedeo Clemente Modigliani (1884 - 1920)

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The modigliani Project

The modigliani ProjectThe modigliani ProjectThe modigliani Project

NEWLY-ACCEPTED WORKS

 Amedeo Modigliani
Portrait of a Girl
c.1915
Oil on paper mounted on composite board
14 3/8 x 10 3/8 in

Signed bottom middle

PROVENANCE AND EXHIBITION HISTORY

Amedeo Modigliani
L’homme au monocle, dit Bidou
1918-1919
Oil on canvas
18 x 10.5 in
Signed bottom right

PROVENANCE AND EXHIBITION HISTORY

 Amedeo Modigliani 
Portrait of Pierre Reverdy 
1916 
Oil on canvas 
16 x 13.4 in 
Signed bottom right 

Provenance and Exhibition History

Amedeo Modigliani
Portrait of a Woman
1919
Oil on millboard
26 x 20 in
Signed top right

PROVENANCE AND EXHIBITION HISTORY

Amedeo Modigliani
La Robe Bleue
1919
Oil on canvas
39.3 x 25.6 in
Signed bottom right

PROVENANCE AND EXHIBITION HISTORY

 Amedeo Modigliani
Hanka
1916
Oil on canvas
18.3 x 15 in
Signed top right

PROVENANCE AND EXHIBITION HISTORY

Amedeo Modigliani 

La Jeune Lolotte (Le Médaillon)
c.1918
Oil on canvas
92 x 60 cm
Signed top left

PROVENANCE AND EXHIBITION HISTORY

Amedeo Modigliani 

Reclining Nude (Lolotte)

1917-1918
Oil on canvas

65 x 92 cm

Signed bottom left

PROVENANCE AND EXHIBITION HISTORY
Modigliani cariatide

Amedeo Modigliani 

Cariatide Rouge sur Fond Noir

Red Caryatid on a Black Ground 

c.1913-1914
Gouache and charcoal on paper
62.5 x 42.5 cm 

PROVENANCE AND EXHIBITION HISTORY

 Amedeo Modigliani
Portrait of a Boy 
1918 or 1919
Oil on canvas
24 x 18 in
Signed top right

PROVENANCE AND EXHIBITION HISTORY

Amedeo Modigliani 

Fillette en Bleu

1919
Oil on canvas

55 x 46 cm

Signed top right

PROVENANCE AND EXHIBITION HISTORY

modigliani project COMMITTEE

Our purpose

Welcome to the initial installment of the Modigliani Project’s on-line catalogue raisonné. At this early stage, we are concentrating on the paintings missed by Ambrogio Ceroni in his publication of the artist’s  work, Tout l’Oeuvre Peint, 1970 (1972). Paintings are  presented here, following rigorous CR committee meetings and months or even years of research. 


As many as fifty paintings may eventually be added to Modigliani’s oeuvre beyond Ceroni. This on-line presentation will be continuously expanded. Ceroni himself declared that his publication was not exhaustive or complete. In addition, his study does not include provenance or exhibition history while ours does. This is the first-known Modigliani catalogue raisonné to use scientific and technical analysis as a central part of  its decision-making process:  pigment testing, x-ray, infrared, canvas weave, etc. 


Connoisseurship and historical research are also important  factors. Typically, connoisseurship has been the primary or sole criterion used in the Modigliani field, as for most other artists. Seeing the paintings together in one room next to each other is a  powerful tool in assessing the works and their brushstrokes, composition, scale, specific features and spirit, and that happened at the committee meeting. Modigliani was consistent in his approach. Elements not visible to the naked eye, but only with scientific equipment, are key.  


This study is the first Modigliani catalogue raisonné to be determined by a committee rather than a sole  individual. The committee of experts consider a lengthy technical report, prepared by outside, established conservation professionals with significant knowledge of Modigliani. The reports are generally 35-50 pages in length but could be longer as well. An application, or submission form, is presented by the owner with known information on each painting. Outside colleagues with special knowledge may be asked for commentary. The CR committee convenes in person to examine the works  firsthand and to discuss them together. Then a vote is taken. A unanimous decision is required for a work to be included in the on-line CR.


Our decisions for the Catalogue Raisonné are based on our opinions, which are protected by the U.S. First Amendment. The decisions are not statements of fact or guarantees. We reserve the right  to change our minds if new information emerges. Our committee members prefer to keep their identities confidential to ensure no external involvement in the vote. Our website exists only for scholarly purposes. Applicants whose painting was not chosen for inclusion have the right to resubmit their paintings for consideration at a later date if new data appears that could be decisive.


We reserve the right to add, subtract or edit any texts on this website. The information provided is not necessarily exhaustive and may be expanded at a later date as new data emerges. This database represents a good faith effort to provide valuable information to help advance Modigliani scholarship. This database is governed by U.S. law.


At present, our on-line database is free to use, but we reserve the right at a later date to charge a fee as more material is added.

Privacy

People register to gain access by giving their name and e-mail address on the first page in the box that says:  “I agree to the Terms and Conditions  of Use.” The Modigliani Project will never sell your name and e-mail address to anyone, nor do we collect IP addresses or use  Cookies. We have visitors register for internal purposes only: to acknowledge acceptance of the Terms of Use and to better serve our  visitors. 

Future plans

We plan to continually add information to the site with a major addition of material to come. We have been approached by individuals who want Ceroni paintings to be tested. We are happy to consider that.


​Dr Kenneth Wayne, Director

November 18, 2018

Updated by the Manager February 3, 2025

ABOUT CERONI's 'Catalogue Raisonné'

Why do Sotheby's and Christie's prefer a work to be in Ceroni?

A Catalogue Raisonné by definition is a comprehensive, annotated listing of all the known works of an artist either in a particular medium or all media. They may provide some or all of the following: Title and title variations. Dimension/ Size. Date of the work.


It is important to note that Ceroni never called his tome a 'Catalogue Raisonné.' He called it, 'Tout l'oeuvre Peint.' There is an important distinction.


Ambrogio Ceroni was a Milanese banker, art appraiser and later art critic. He died in 1970. His four publications of 1958, 1965, 1970 and 1972 are viewed currently as the only valid source for confirming a true Modigliani by Sotheby’s and Christie’s since approximately 2002. This decision came about due to many new fakes circulating in exhibitions and sales, to protect from such a concern. Part of our aim as a foundation is to restore faith in academic research on this artist.


Other auction houses and galleries are happy to sell non-Ceroni works, dependent on the other provenance material, and if authenticated by the most up-to-date scientific analysis and committee of experts such as the Modigliani Project. We hope that soon our CR will become the one reliable CR for Modigliani, and that works (even if not in Ceroni) will be accepted again by Christie's and Sotheby's because of this restoration of trust.


Ceroni only covered the period from 1906 (Modigliani's arrival in Paris) to the death of the artist. No work previous to 1906 is ever mentioned. 


Ceroni's work is important because he gathered much interesting and lost information. But when the only thing supporting his work was connoisseurship and 'having an eye', it was not fail-safe. The only reason to keep it as the primary source in judging the validity of a Modigliani work was because the other options had so far been so much less reliable! We hope to change that through our intricate archival research and scientific innovations.


Ceroni's work is not without fault. Here are some common myths debunked:


  1. He never included American paintings = FALSE: he included many of them, not all, but many.
  2. His work is solid = FALSE: many mistakes, over 200 errors in the 337 paintings listed,
  3. He said that he viewed and examined carefully all the works listed in person = FALSE: there are many mistakes as obvious as ‘canvas’ when it is cardboard (more than 10 times). Many works could not have been seen in person as they were in private collections.
  4. If a work is in Ceroni, then it is original = FALSE: several works now identified as fakes were included by Ceroni. We would like to clear up these questions as part of our work.


After his death in 1970 his widow Angela expertised saying that, “it was in my husband’s files and intention.” His widow became a ‘source’ for unpublished work, and several artworks are for sale with certificates made by Angela Ceroni. Their daughter Anna also became involved and published some nudes, and collaborated with Parisot on some points (only briefly).


Anna Ceroni collaborates now with Dr Kenneth Wayne at the Modigliani Project, and her recent article at Burlington Magazine was interesting: The Catalogue Raisonnés of Modigliani. Find here.


Some points to have in mind, all said by Ceroni:

  • He said that he viewed and carefully examined in person all the works listed.
  • He made at least four corrections to his catalogue, the last published in 1972 after his death.
  • He used (or said that he did) all the reliable sources and updated frequently. 


Ceroni's tome cannot be called ‘raisonné’ as it presents gaps in dating, medium, titles, provenance and exhibitions. A catalogue raisonné needs to be absolutely exact, exhaustive and complete.


  • He could not have seen all the works in person.
  • He was working alone using only his own opinion.
  • Mistakes where works painted on both sides, but only seen one side.
  • Mistakes in supports, ‘oil on canvas’ when it’s wood or cardboard.
  • Wrong measurements in many works.
  • Mistakes in date or location even at the time of printing.
  • In his last edition he didn’t change many of the measurements or mediums when many were totally accessible at that time.
  • His dating lacks any explanation.
  • He omitted some of the best works by Modigliani.
  • Works that clearly come from the same year (the same painting session, dressing, hair comb etc) are placed in different years.
  • He accepted as valid the word of Lunia Czechowska when changing dates and adding works because she confirmed the authenticity, when she was not trustworthy.


The Modigliani Project committee make sure to be scrupulous about seeing and checking in person every single submission. Much time is taken to explore the data, reports and provenance and every single physical and chemical detail. An expert team rather than one individual decides the outcome, and we always look back on our decisions if new technology or evidence becomes available. Our sole priority is the longterm legacy of the artist and the safe-keeping and appropriate sharing of his magnificent works.

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