Amedeo Modigliani (1884? 1920)? Born in Leghorn in Italy. ? Essentially a painter but in 1906 he began to experiment with sculpture. ? He worked in Paris for the nest 14 years? Had tuberculosis. ? Took drugs and alcohol? Not really an artist of the 20 th Century? He utilised post-impressionist delimitation of picture space and cubist restriction of colour.
? He constructed portraits, nude, children studies, and sculptures of foreign people? s heads. ? The Cellist (as shown right) was done in 1909 and got his some recognition. ? He then got very passionate with his sculpturing with expressed contours. ? Was one of the master portraitists of 20 th Century paintings. ? Bride and Groom (as shown left) was painted in 1915-1916 portrays an unidentified couple. It seems like a French view of the English.
? Two subjects seem arrogant and oblivious, with the primitivist technique of blank eyes and profile nose in full face contributing to the characterization. ? It is better to examine the well known sitters than the unknown, such as Chaim Soutine (as shown left) who was a Russian peasant who? s broad, flat nose, thick lips and Slavic cheekbones. ? He would also draw his friends and acquaintances and other people that he would not have to pay, but these were mainly unknown people. ? The same was true on his nude paintings but sometimes he would rely heavily on professional models. ? His depictions of the nude or partially draped female are among the most beautiful and sensuous in the whole of art. ? The figure is normally set within a narrow depth of coloured space.
The Essay on CheckPoint: Comparison of Three Sculptures
Learning that there were actually different versions of David came as a surprise to me. I am not a fan of art and never expected to be interested in learning about sculpture. The three artists featured in this checkpoint all have a different styles for this same sculpture. I will cover each in an order that seems more logical because in a sense, I believe that the three David sculptures show ...
Modigliani is fond of the contrast of draped white sheets against a Venetian red. ? The figure is outlined with a flowing but precise line; the full and sensuous volumes are modelled with almost imperceptible gradations of flesh tones. The torso is often extremely elongated, but there is no visual sense of grotesque distortion.