Amedeo Modigliani

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Amedeo Clemente Modigliani (Italian pronunciation:

[ameˈdɛːo modiʎˈʎaːni]; 12 July 1884 – 24 January 1920)
was an Italian Jewish painter and sculptor who worked
mainly in France. He is known for portraits and nudes in
a modern style characterized by elongation of faces and
figures, that were not received well during his lifetime,
but later found acceptance. Modigliani spent his youth in
Italy, where he studied the art of antiquity and the Renais-
sance, until he moved to Paris in 1906. There he came
into contact with prominent artists such as Pablo Picasso
and Constantin Brâncuși.
Modigliani’s œuvre includes paintings and drawings.
From 1909 to 1914, however, he devoted himself mainly
to sculpture. His main subject was portraits and full fig-
ures of humans, both in the images and in the sculptures.
During his life, Amedeo Modigliani had little success,
but after his death he achieved greater popularity and his
works of art achieved high prices. He died at age 35 in
Paris of tubercular meningitis.
Modigliani’s birthplace in Livorno

1 Family and early life
Modigliani was born into a Sephardic Jewish family in
Livorno, Italy. A port city, Livorno had long served as
a refuge for those persecuted for their religion, and was
home to a large Jewish community. His maternal great-
great-grandfather, Solomon Garsin, had immigrated to
Livorno in the 18th century as a refugee.[1]
Modigliani’s mother, Eugénie Garsin, born and raised
in Marseille, was descended from an intellectual, schol-
arly family of Sephardic ancestry that for generations
had lived along the Mediterranean coastline. Fluent in
many languages, her ancestors were authorities on sa-
cred Jewish texts and had founded a school of Talmudic
studies. Family legend traced the family lineage to the
17th-century Dutch philosopher Baruch Spinoza. The
family business was a credit agency with branches in
Livorno, Marseille, Tunis, and London, though their for-
tunes ebbed and flowed.[2][3]
Modigliani’s father, Flaminio, was a member of an Ital-
ian Jewish family of successful businessmen and en-
trepreneurs. While not as culturally sophisticated as the
Garsins, they knew how to invest in and develop thriv-
ing business endeavors. When the Garsin and Modigliani
families announced the engagement of their children,
Flaminio was a wealthy young mining engineer. He
managed the mine in Sardinia and also managed the al-
most 30,000 acres (12,141 ha) of timberland the family
owned.[4] A reversal in fortune occurred to this prosper-
ous family in 1883. An economic downturn in the price
of metal plunged the Modiglianis into bankruptcy. Ever
resourceful, Modigliani’s mother used her social contacts
to establish a school and, along with her two sisters, made
the school into a successful enterprise.[5]
Modigliani was the fourth child, whose birth coincided
with the disastrous financial collapse of his father’s busi-
ness interests. Amedeo’s birth saved the family from ruin;
according to an ancient law, creditors could not seize the
bed of a pregnant woman or a mother with a newborn
child. The bailiffs entered the family’s home just as Eu-
genia went into labour; the family protected their most
valuable assets by piling them on top of her.
Modigliani had a close relationship with his mother, who
taught him at home until he was 10. Beset with health
problems after an attack of pleurisy when he was about
11, a few years later he developed a case of typhoid fever.

1
2 2 ART STUDENT YEARS

When he was 16 he was taken ill again and contracted

the tuberculosis which would later claim his life. After
Modigliani recovered from the second bout of pleurisy,
his mother took him on a tour of southern Italy: Naples,
Capri, Rome and Amalfi, then north to Florence and
Venice.[6][7][8]
His mother was, in many ways, instrumental in his ability
to pursue art as a vocation. When he was 11 years of age,
she had noted in her diary: “The child’s character is still so
unformed that I cannot say what I think of it. He behaves
like a spoiled child, but he does not lack intelligence. We
shall have to wait and see what is inside this chrysalis.
Perhaps an artist?"[9]

2 Art student years

Modigliani is known to have drawn and painted from a
very early age, and thought himself “already a painter”,
his mother wrote,[10] even before beginning formal stud-
ies. Despite her misgivings that launching him on a
course of studying art would impinge upon his other stud-
ies, his mother indulged the young Modigliani’s passion
for the subject.
At the age of fourteen, while sick with typhoid fever, he
raved in his delirium that he wanted, above all else, to see
the paintings in the Palazzo Pitti and the Uffizi in Flo-
rence. As Livorno’s local museum housed only a sparse
few paintings by the Italian Renaissance masters, the tales Portrait of Pablo Picasso, 1915
he had heard about the great works held in Florence in-
trigued him, and it was a source of considerable despair
to him, in his sickened state, that he might never get the
chance to view them in person. His mother promised that
she would take him to Florence herself, the moment he
was recovered. Not only did she fulfil this promise, but
she also undertook to enroll him with the best painting
master in Livorno, Guglielmo Micheli.

2.1 Micheli and the Macchiaioli

Modigliani worked in Micheli’s Art School from 1898 to

1900. Among his colleagues in that studio would have
been Llewelyn Lloyd, Giulio Cesare Vinzio, Manlio Mar-
tinelli, Gino Romiti, Renato Natali, and Oscar Ghiglia. His home in Venice.
Here his earliest formal artistic instruction took place
in an atmosphere steeped in a study of the styles and
of Domenico Morelli, a painter of dramatic religious and
themes of 19th-century Italian art. In his earliest Parisian
work, traces of this influence, and that of his studies of literary scenes. Morelli had served as an inspiration for
Renaissance art, can still be seen. His nascent work was a group of iconoclasts who were known by the title “the
shaped as much by such artists as Giovanni Boldini as by Macchiaioli" (from macchia —"dash of colour”, or, more
Toulouse-Lautrec. derogatively, “stain”), and Modigliani had already been
exposed to the influences of the Macchiaioli. This lo-
Modigliani showed great promise while with Micheli, and calized landscape movement reacted against the bour-
ceased his studies only when he was forced to, by the on- geois stylings of the academic genre painters. While sym-
set of tuberculosis. pathetically connected to (and actually pre-dating) the
In 1901, whilst in Rome, Modigliani admired the work French Impressionists, the Macchiaioli did not make the
2.2 Early literary influences 3

same impact upon international art culture as did the con-

temporaries and followers of Monet, and are today largely
forgotten outside Italy.
Modigliani’s connection with the movement was through
Guglielmo Micheli, his first art teacher. Micheli was
not only a Macchiaiolo himself, but had been a pupil
of the famous Giovanni Fattori, a founder of the move-
ment. Micheli’s work, however, was so fashionable and
the genre so commonplace that the young Modigliani re-
acted against it, preferring to ignore the obsession with
landscape that, as with French Impressionism, character-
ized the movement. Micheli also tried to encourage his
pupils to paint en plein air, but Modigliani never really
got a taste for this style of working, sketching in cafés,
but preferring to paint indoors, and especially in his own
studio. Even when compelled to paint landscapes (three
are known to exist),[11] Modigliani chose a proto-Cubist
palette more akin to Cézanne than to the Macchiaioli.
While with Micheli, Modigliani studied not only land-
scape, but also portraiture, still life, and the nude. His fel-
low students recall that the last was where he displayed his
greatest talent, and apparently this was not an entirely aca-
demic pursuit for the teenager: when not painting nudes,
he was occupied with seducing the household maid.[10]
Despite his rejection of the Macchiaioli approach,
Modigliani nonetheless found favour with his teacher,
who referred to him as “Superman”, a pet name reflecting
the fact that Modigliani was not only quite adept at his art, Portrait of Chaim Soutine, 1916
but also that he regularly quoted from Nietzsche’s Thus
Spoke Zarathustra. Fattori himself would often visit the
studio, and approved of the young artist’s innovations.[12]
In 1902, Modigliani continued what was to be a lifelong
infatuation with life drawing, enrolling in the Scuola Lib-
era di Nudo, or “Free School of Nude Studies”, of the
Accademia di Belle Arti in Florence. A year later, while
still suffering from tuberculosis, he moved to Venice,
where he registered to study at the Regia Accademia ed
Istituto di Belle Arti. It is in Venice that he first smoked
hashish and, rather than studying, began to spend time
frequenting disreputable parts of the city. The impact of
these lifestyle choices upon his developing artistic style
is open to conjecture, although these choices do seem
to be more than simple teenage rebellion, or the cliched
hedonism and bohemianism that was almost expected of
artists of the time; his pursuit of the seedier side of life ap-
pears to have roots in his appreciation of radical philoso-
phies, including those of Nietzsche.

2.2 Early literary influences

Having been exposed to erudite philosophical literature
as a young boy under the tutelage of Isaco Garsin, his
maternal grandfather, he continued to read and be influ- Caryatid, now at The New Art Gallery Walsall
enced through his art studies by the writings of Nietzsche,
Baudelaire, Carducci, Comte de Lautréamont, and oth-
ers, and developed the belief that the only route to true creativity was through defiance and disorder.
4 3 PARIS

Letters that he wrote from his 'sabbatical' in Capri in 1901

clearly indicate that he is being more and more influenced
by the thinking of Nietzsche. In these letters, he advised
friend Oscar Ghiglia;

(hold sacred all) which can exalt and excite

your intelligence... (and) ... seek to provoke ...
and to perpetuate ... these fertile stimuli, be-
cause they can push the intelligence to its max-
imum creative power.[13]

The work of Lautréamont was equally influential at this

time. This doomed poet’s Les Chants de Maldoror
became the seminal work for the Parisian Surrealists
of Modigliani’s generation, and the book became
Modigliani’s favourite to the extent that he learnt it by
heart.[12] The poetry of Lautréamont is characterized by
the juxtaposition of fantastical elements, and by sadistic
imagery; the fact that Modigliani was so taken by this text
in his early teens gives a good indication of his developing
tastes. Baudelaire and D'Annunzio similarly appealed to
the young artist, with their interest in corrupted beauty,
and the expression of that insight through Symbolist im-
agery.
Modigliani wrote to Ghiglia extensively from Capri,
where his mother had taken him to assist in his recov- Portrait of Juan Gris, 1915
ery from tuberculosis. These letters are a sounding board
for the developing ideas brewing in Modigliani’s mind.
Ghiglia was seven years Modigliani’s senior, and it is He later befriended Jacob Epstein, they aimed to set up
likely that it was he who showed the young man the limits a studio together with a shared vision to create a Temple
of his horizons in Livorno. Like all precocious teenagers, of Beauty to be enjoyed by all, for which Modigliani cre-
Modigliani preferred the company of older companions, ated drawings and paintings of the intended stone cary-
and Ghiglia’s role in his adolescence was to be a sym- atids for ‘The Pillars of Tenderness ’which would support
pathetic ear as he worked himself out, principally in the the imagined temple.[16]
convoluted letters that he regularly sent, and which sur-
vive today.[14]

Dear friend, I write to pour myself out to

you and to affirm myself to myself. I am the
prey of great powers that surge forth and then
disintegrate ... A bourgeois told me today–
insulted me–that I or at least my brain was lazy.
It did me good. I should like such a warning ev-
ery morning upon awakening: but they cannot
understand us nor can they understand life...[15]

3 Paris
3.1 Arrival
In 1906, Modigliani moved to Paris, then the focal point
of the avant-garde. In fact, his arrival at the centre of
artistic experimentation coincided with the arrival of two
other foreigners who were also to leave their marks upon
the art world: Gino Severini and Juan Gris.
Le Bateau-Lavoir
Modigliani settled in Le Bateau-Lavoir,[17] a commune
for penniless artists in Montmartre, renting himself a stu-
dio in Rue Caulaincourt. Even though this artists’ quarter
of Montmartre was characterized by generalized poverty,
Modigliani himself presented—initially, at least—as one
would expect the son of a family trying to maintain the
3.3 Output 5

appearances of its lost financial standing to present: his create his art.[21]
wardrobe was dapper without ostentation, and the studio Modigliani’s use of drink and drugs intensified from
he rented was appointed in a style appropriate to some- about 1914 onward. After years of remission and recur-
one with a finely attuned taste in plush drapery and Re- rence, this was the period during which the symptoms of
naissance reproductions. He soon made efforts to assume his tuberculosis worsened, signaling that the disease had
the guise of the bohemian artist, but, even in his brown reached an advanced stage.[22]
corduroys, scarlet scarf and large black hat, he continued
to appear as if he were slumming it, having fallen upon
harder times.[13]
When he first arrived in Paris, he wrote home regularly
to his mother, he sketched his nudes at the Académie
Colarossi, and he drank wine in moderation. He was
at that time considered by those who knew him as a
bit reserved, verging on the asocial.[13] He is noted to
have commented, upon meeting Picasso who, at the time,
was wearing his trademark workmen’s clothes, that even
though the man was a genius, that did not excuse his un-
couth appearance.[13]

Nu Couché au coussin Bleu, one of the finest examples of reclin-

3.2 Transformation ing nudes by Modigliani, 1916[23]

Within a year of arriving in Paris, however, his de-

He sought the company of artists such as Utrillo and
meanour and reputation had changed dramatically. He
Soutine, seeking acceptance and validation for his work
transformed himself from a dapper academician artist
from his colleagues.[18] Modigliani’s behavior stood out
into a sort of prince of vagabonds.
even in these Bohemian surroundings: he carried on
The poet and journalist Louis Latourette, upon visit- frequent affairs, drank heavily, and used absinthe and
ing the artist’s previously well-appointed studio after his hashish. While drunk, he would sometimes strip himself
transformation, discovered the place in upheaval, the Re- naked at social gatherings.[24] He became the epitome of
naissance reproductions discarded from the walls, the the tragic artist, creating a posthumous legend almost as
plush drapes in disarray. Modigliani was already an al- well known as that of Vincent van Gogh.
coholic and a drug addict by this time, and his studio
During the 1920s, in the wake of Modigliani’s career
reflected this. Modigliani’s behaviour at this time sheds
and spurred on by comments by André Salmon credit-
some light upon his developing style as an artist, in that
ing hashish and absinthe with the genesis of Modigliani’s
the studio had become almost a sacrificial effigy for all
style, many hopefuls tried to emulate his “success” by
that he resented about the academic art that had marked
embarking on a path of substance abuse and bohemian
his life and his training up to that point.
excess. Salmon claimed—erroneously—that whereas
Not only did he remove all the trappings of his bourgeois Modigliani was a totally pedestrian artist when sober,
heritage from his studio, but he also set about destroy- "...from the day that he abandoned himself to certain
ing practically all of his own early work, which he de- forms of debauchery, an unexpected light came upon
scribed as “Childish baubles, done when I was a dirty him, transforming his art. From that day on, he became
bourgeois”.[18] one who must be counted among the masters of living
[25]
The motivation for this violent rejection of his earlier self art.”
is the subject of considerable speculation. From the time In fact, art historians suggest[25] that it is entirely possible
of his arrival in Paris, Modigliani consciously crafted a that Modigliani would have achieved even greater artistic
charade persona for himself and cultivated his reputation heights had he not been immured in, and destroyed by,
as a hopeless drunk and voracious drug user. His escalat- his own self-indulgences.
ing intake of drugs and alcohol may have been a means
by which Modigliani masked his tuberculosis from his
acquaintances, few of whom knew of his condition.[19] 3.3 Output
Tuberculosis—the leading cause of death in France by
1900[20] —was highly communicable, there was no cure, During his early years in Paris, Modigliani worked at a fu-
and those who had it were feared, ostracized, and pitied. rious pace. He was constantly sketching, making as many
Modigliani thrived on camaraderie and would not let him- as a hundred drawings a day. However, many of his works
self be isolated as an invalid; he used drink and drugs as were lost—destroyed by him as inferior, left behind in his
palliatives to ease his physical pain, helping him to main- frequent changes of address, or given to girlfriends who
tain a façade of vitality and allowing him to continue to did not keep them.[24]
6 4 GALLERY OF WORKS

He was first influenced by Henri de Toulouse-Lautrec, but

around 1907 he became fascinated with the work of Paul
Cézanne. Eventually he developed his own unique style,
one that cannot be adequately categorized with those of
other artists.
He met the first serious love of his life, Russian poet Anna
Akhmatova, in 1910, when he was 26. They had studios
in the same building, and although 21-year-old Anna was
recently married, they began an affair.[26] Anna was tall
(as Modigliani was only 5 foot 5 inches) with dark hair
(like Modigliani’s), pale skin and grey-green eyes, she • Bride and Groom,
embodied Modigliani’s aesthetic ideal and the pair be- 1915
came engrossed in each other. After a year, however,
Anna returned to her husband.

4 Gallery of works

• Jacques and Berthe Lip-

chitz, 1916

• Portrait of Maude
Abrantes, 1907

• Jean Cocteau, 1916,

Henry and Rose Pearlman Collection, on long-term
loan to the Princeton University Art Museum

• Paul Guillaume, Novo • Léon Indenbaum,

Pilota, 1915 1916, Henry and Rose Pearlman Collection, on
long-term loan to the Princeton University Art
 7

Museum

• Madame Kisling, 1917

• Portrait of Beatrice
Hastings, 1916

• Nude Sitting on a Divan

(“La Belle Romaine”), 1917

• Female nude; Iris Tree, c.

1916

• Jeanne Hébuterne, 1918

• Portrait of Moise • Dedie Hayden, 1918,

Kisling, 1915 Centre Georges Pompidou
8 4 GALLERY OF WORKS

• Self-portrait, 1919, oil on • Portrait of a Young

canvas, Museum of Contemporary Art, São Paulo, Woman, 1918, New Orleans Museum of Art
Brazil

• Buste de femme, un-

• Gypsy Woman with Baby, known, before 1919, Museo Nacional de Bellas
1919, National Gallery of Art Artes (Buenos Aires)

• The little peasant, 1918, • Beatrice Hastings, 1916-

Tate Liverpool 1919, Solomon R. Guggenheim Museum
5.2 Friends and influences 9

• Woman with a Fan, 1919,

stolen from Musée d'Art Moderne de la Ville de
Paris

• Portrait of Jeanne
Hebuterne, Seated, 1918, Israel Museum, Jerusalem

Female Head, 1911/1912, Tate

5 Montparnasse, Paris
5.2 Friends and influences
5.1 Sculpture
Modigliani painted a series of portraits of contempo-
rary artists and friends in Montparnasse: Chaim Sou-
In 1909, Modigliani returned home to Livorno, sickly and tine, Moïse Kisling, Pablo Picasso, Diego Rivera, Marie
tired from his wild lifestyle. Soon he was back in Paris, “Marevna” Vorobyev-Stebeslka, Juan Gris, Max Jacob,
this time renting a studio in Montparnasse. He originally Blaise Cendrars, and Jean Cocteau, all sat for stylized ren-
saw himself as a sculptor rather than a painter, and was ditions.
encouraged to continue after Paul Guillaume, an ambi-
tious young art dealer, took an interest in his work and
introduced him to sculptor Constantin Brâncuși. He was
Constantin Brâncuși’s disciple for one year. 6 The war years
Although a series of Modigliani’s sculptures were exhib-
ited in the Salon d'Automne of 1912, by 1914 he aban- At the outset of World War I, Modigliani tried to enlist in
doned sculpting and focused solely on his painting, a the army but was refused because of his poor health.
move precipitated by the difficulty in acquiring sculpturalKnown as Modì (which plays on the French word 'maudit',
materials due to the outbreak of war, and by Modigliani’smeaning 'cursed') by many Parisians, but as Dedo to his
physical debilitation.[3] family and friends, Modigliani was a handsome man, and
In June 2010 Modigliani’s Tête, a limestone carving of a attracted much female attention. Women came and went
woman’s head, became the third most expensive sculpture until Beatrice Hastings entered his life. She stayed with
ever sold. him for almost two years, was the subject of several of his
10 7 PATRONAGE OF LÉOPOLD ZBOROWSKI

Modigliani, Pablo Picasso and André Salmon, 1916

portraits, including Madame Pompadour, and the object

of much of his drunken wrath. When the British painter
Nina Hamnett arrived in Montparnasse in 1914, on her
first evening there the smiling man at the next table in the
café introduced himself as “Modigliani, painter and Jew”.
They became great friends.
In 1916, Modigliani befriended the Polish poet and art
dealer Léopold Zborowski and his wife Anna. Zborowski
became Modigliani’s primary art dealer and friend during
the artist’s final years, helping him financially, and also
organizing his show in Paris in 1917.

Portrait of Léopold Zborowski, 1918

7 Patronage of Léopold Zborowski
by Modigliani in 1917 that created a sensation when ex-
7.1 The 1917 Paris Show hibited in Paris that year. According to the catalogue de-
scription from the 2010 sale of the painting at Sotheby’s,
The several dozen nudes Modigliani painted between seven nudes were exhibited in the 1917 show.
1916 and 1919 constitute many of his best-known works.
This series of nudes was commissioned by Modigliani’s Nu couché realized $170,405,000 at a Christie’s, New
dealer and friend Léopold Zborowski, who lent the artist York, sale on 9 November 2015, a record for a Modigliani
use of his apartment, supplied models and painting ma- painting and placing it high among the most expensive
[30]
terials, and paid him between fifteen and twenty francs paintings ever sold.
each day for his work.[27]
The paintings from this arrangement were thus different • Nudes
from his previous depictions of friends and lovers in that
they were funded by Zborowski either for his own col-
lection, as a favor to his friend, or with an eye to their
“commercial potential”, rather than originating from the
artist’s personal circle of acquaintances.[28]
The Paris show of 1917 was Modigliani’s only solo exhi-
bition during his life, and is “notorious” in modern art his-
tory for its sensational public reception and the attendant
issues of obscenity.[29] The show was closed by police on
its opening day, but continued thereafter, most likely af- • Re-
ter the removal of paintings from the gallery’s streetfront clining Nude, 1917, in The Metropolitan Museum
window.[29] of Art
Nude Sitting on a Divan is one of a series of nudes painted
 11

• Nu
couché, 1917-18, sold for $170.4 million in 2015

• Nude
on a Blue Cushion, 1917

7.2 Nice
On a trip to Nice which had been conceived and organized
by Zborowski, Modigliani, Foujita and other artists tried
to sell their works to rich tourists. Modigliani managed to
sell a few pictures, but only for a few francs each. Despite
this, during this time he produced most of the paintings Jeanne Hébuterne
that later became his most popular and valued works.
During his lifetime, he sold a number of his works, but
never for any great amount of money. What funds he did The chief of the Paris police was scandalized by
receive soon vanished for his habits. Modigliani’s nudes and forced him to close the exhibition
within a few hours after its opening.
Towards the end of the First World War, early in 1918,
8 Jeanne Hébuterne Modigliani left Paris with Hébuterne to escape from the
war and travelled to Nice and Cagnes-sur-Mer. They
In the spring of 1917, the Russian sculptor Chana would spend a year in France. During that time they had
Orloff introduced him to a beautiful 19-year-old art stu- a busy social life with many friends, including Pierre-
dent named Jeanne Hébuterne[31] who had posed for Auguste Renoir, Pablo Picasso, Giorgio de Chirico and
Tsuguharu Foujita. From a conservative bourgeois back- André Derain.
ground, Hébuterne was renounced by her devout Roman After he and Hébuterne moved to Nice on November 29,
Catholic family for her liaison with Modigliani, whom 1918, she gave birth to a daughter whom they named
they saw as little more than a debauched derelict. Despite
Jeanne (1918–1984). In May 1919 they returned to Paris
her family’s objections, soon they were living together. with their infant daughter and moved into an apartment on
Modigliani ended his relationship with the English poet the rue de la Grande Chaumière.
and art critic Beatrice Hastings and a short time later Hébuterne became pregnant again. Modigliani then got
Hebuterne and Modigliani moved together into a stu- engaged to her, but Jeanne’s parents were against the mar-
dio on the Rue de la Grande Chaumière. Jeanne be- riage, especially because of Modigliani’s reputation as an
gan to pose for him and appears in several of his paint- alcoholic and drug user. However, Modigliani officially
ings. Jeanne Hébuterne became a principal subject for recognized her daughter as his child. The wedding plans
Modigliani’s art. were shattered independently of Jeanne’s parents’ resis-
On December 3, 1917, Modigliani’s first one-man tance when Modigliani discovered he had a severe form
exhibition opened at the Berthe Weill Gallery in Paris. of tuberculosis.
12
Amedeo Modigliani, 1919, Jeanne Hébuterne, oil on canvas,
91.4 x 73 cm, Metropolitan Museum of Art
Portrait of Jeanne Hébuterne, 1918
10 LEGACY
9 Last works and funeral
Although he continued to paint, Modigliani’s health de-
teriorated rapidly, and his alcohol-induced blackouts be-
came more frequent.
In 1920, after not hearing from him for several days, a
neighbour checked on the family and found Modigliani in
bed delirious and holding onto Hébuterne. A doctor was
summoned, but little could be done because Modigliani
was in the final stage of his disease, tubercular meningitis.
He died on January 24, 1920, at the Hôpital de la Charité.
There was an enormous funeral, attended by many
from the artistic communities in Montmartre and Mont-
parnasse. When Modigliani died, twenty-one-year-old
Hébuterne was eight months pregnant with their second
child.
A day later, Hébuterne was taken to her parents’ home.
There, inconsolable, she threw herself out of a fifth-
floor window, a day after Modigliani’s death, killing her-
self and her unborn child. Modigliani was buried in
Père Lachaise Cemetery. Hébuterne was buried at the
Cimetière de Bagneux near Paris, and it was not until
1930 that her embittered family allowed her body to be
moved to rest beside Modigliani. A single tombstone hon-
ors them both. His epitaph reads: “Struck down by Death
at the moment of glory”. Hers reads: “Devoted compan-
ion to the extreme sacrifice”.[32]
Managing only one solo exhibition in his life and giv-
ing his work away in exchange for meals in restaurants,
Modigliani died destitute.
10 Legacy
10.1 Influences
The linear form of African sculpture and the depictive hu-
manism of the figurative Renaissance painters informed
his work. Working during that fertile period of “isms,”
Cubism, Dadaism, Surrealism, Futurism, Modigliani did
not choose to be categorized within any of these prevail-
ing, defining confines. He was unclassifiable, stubbornly
insisting on his difference. He was an artist putting down
paint on canvas creating works not to shock and out-
rage, but to say, “This is what I see.” More appreciated
over the years by collectors than academicians and critics,
Modigliani was indifferent to staking a claim for himself
in the intellectual avant-garde of the art world. One can
say he recognized the merit of Jean Cocteau’s proclama-
tion: “Ne t'attardes pas avec l'avant-garde” (“Don’t wait
for the avant-garde”).[33]
Since his death, Modigliani’s reputation has soared. Nine
novels, a play, a documentary, and three feature films
have been devoted to his life. Modigliani’s sister in
Florence adopted their daughter, Jeanne (1918–1984).
10.2 Art market 13

Amedeo Modigliani, 1919, near the end of his life

Nude

10.2 Art market

The Modigliani estate is one of the most problematic in

the art world. There are at least five catalogues raison-
nés of the artist’s work including a volume by Ambrogio
Ceroni, last updated in 1972. Arthur Pfannstiel (1929
and 1956) and Joseph Lanthemann's (1970) books are
widely dismissed today. Milanese scholar Osvaldo Patani
produced three volumes: paintings (1991), drawings
(1992) and one on the Paul Alexandre period (1994),
while Christian Parisot has published Volumes I, II and
IV (in 1970, 1971 and 1996) of a catalogue raisonné.[34]
In 2006, about 6,000 documents from the estate—
believed to be the only ones existing—were moved per-
manently from France to Italy. Parisot, as president of
the Modigliani Institut Archives Legales in Rome, had
the legal right to authenticate Modigliani’s work.[35] In
2013, Parisot was arrested by the Italian art forgery unit
after a two-year investigation; the police seized works
Grave of Amedeo Modigliani and Jeanne Hébuterne in Père attributed to the artist, along with suspect authenticity
Lachaise Cemetery certificates.[36]
In November 2010, a painting of a nude by Amedeo
Modigliani, part of a series of nudes he created around
1917, sold for more than $68.9m (£42.7m) at an auc-
As an adult, she wrote a biography of her father titled tion in New York—a record for the artist’s work. Bid-
Modigliani: Man and Myth. ding for La Belle Romaine pushed its price well past its
14 13 SEE ALSO

$40m (£24.8m) estimate. Modigliani’s previous auction 12 Selected works

record was 43.2m euros (£35.8m), set earlier in 2010 in
Paris. Another painting by the artist—Jeanne Hébuterne
(au chapeau), one of the first portraits he painted of his
12.1 Paintings
lover—sold for $19.1m (£11.8m), much higher than its
• Head of a Woman with a Hat (1907)
pre-sale estimate of $9–12m (£5.6–7.4m).[37]
On November 9, 2015 the nude painting Nu couché • Portrait of Juan Gris (1915)
Paris, 1917 sold at Christie’s in New York for US$170.4
million.[38] • Portrait of the Art Dealer Paul Guillaume (1916)

• Portrait of Jean Cocteau (1916)

10.3 Cinema
• Nu couché (1917-1918)
Two films have been made about Modigliani: Les Amants
de Montparnasse (1958), directed by Jacques Becker and • Seated Nude (ca. 1918), Honolulu Museum of Art
starring Gérard Philipe as Modigliani; and Modigliani
(2004), directed by Mick Davis and starring Andy García • Portrait of Jeanne Hébuterne (1918)
as Modigliani.
• Woman with a Fan (1919), stolen from the Paris
Modern Art Museum on May 19, 2010[40] and por-
10.4 Music trayed in the films “Trance” and Skyfall[41]

In 1987 the U.S. Synth-Pop band Book of Love released • Portrait of Marios Varvoglis (1920; Modigliani’s last
the single Modigliani (Lost In Your Eyes). painting)
In 2015 Italian jazz player Claudio Ottaviano released the
composition “Modigliani”, opening track for the album
Aurora (NuomRecords). 12.2 Sculptures
Modi'Tango (Giovanna Pieri Buti, violin - Emiliano Only 27 sculptures by Modigliani are known to exist.
Degl'Innocenti, doublebass - Alessandro Ottaviani, ac-
cordion) is a musical band based in Livorno, that honours
Modigliani taking inspiration from an oniric meeting in • Tête (1910/1912)
Montparnasse between Modigliani and Carlos Gardel in
front of a Milonga • Head of a Woman (1910/1911).

• Head (1911–1913).

11 Critical reactions • Head (1911–1912).

Peter Schjeldahl wrote: • Head (1912).

I recall my thrilled first exposure, as a • Rose Caryatid (1914).

teenager, to one of his long-necked women,
with their piquantly tipped heads and mask-
like faces. The rakish stylization and the suc- 13 See also
culent color were easy to enjoy, and the payoff
was sanguinely erotic in a way that endorsed
• Nude Sitting on a Divan
my personal wishes to be bold and tender and
noble, overcoming the wimp that I was. In
• Nu couché
that moment, I used up Modigliani’s value for
my life. But in museums ever since I have • Seated Man with a Cane
been happy to salute his pictures with residu-
ally grateful, quick looks.[39] • Lille Métropole Museum of Modern, Contemporary
and Outsider Art
Schjeldahl reports Meryle Secrest’s speculation that
Modigliani was happy to let people consider him an alco- • Painting the Century: 101 Portrait Masterpieces
holic and drug addict, “and thus to mistake the symptoms 1900–2000
of his tuberculosis, which he kept a secret. Drunks were
tolerated; carriers of infectious diseases were not.”[39] • Hilla Rebay

14 References
[1] Werner, Alfred (1967). Amedeo Modigliani. London:
Thames and Hudson. p. 13. ISBN 0-8109-0323-7.
[2] Secrest, Modigilani, Alfred Knopf, 2011, pp. 16–18
[3] Klein, Mason, et al., Modigliani: Beyond the Myth, page
197. The Jewish Museum and Yale University Press, 2004
[4] Secrest (2011), Modigilani,pp. 24–25
[5] Secrest (2011), Modigilani, pp. 34–35
[6] Fifield, William (19 June 1978). Modigliani: A Biogra-
phy. W.H. Allen. p. 316. ISBN 0-491-02164-X.
[7] Diehl, Gaston (Jul 1989). Modigliani (Reissue ed.).
Crown Pub. p. 96. ISBN 0-517-50798-6.
[8] Soby, James Thrall (Sep 1977). Amedeo Modigliani. New
York: Arno P. p. 55.
[9] Werner, Alfred (1967). Amedeo Modigliani. London:
Thames and Hudson. p. 14. ISBN 0-8109-0323-7.
[10] Mann, Carol (1980). Modigliani. London: Thames and
Hudson. p. 12. ISBN 0-500-20176-5.
[11] Werner, Alfred (1967). Amedeo Modigliani. London:
Thames and Hudson. p. 16. ISBN 0-8109-0323-7.
[12] Mann, Carol (1980). Modigliani. London: Thames and
Hudson. p. 16. ISBN 0-500-20176-5.
[13] Werner, Alfred (1967). Amedeo Modigliani. London:
Thames and Hudson. p. 17. ISBN 0-8109-0323-7.
[14] Mann, Carol (1980). Modigliani. London: Thames and
Hudson. pp. 19–22. ISBN 0-500-20176-5.
[15] Mann, Carol (1980). Modigliani. London: Thames and
Hudson. p. 20. ISBN 0-500-20176-5.
[16] “Modigliani Caryatid Drawings”. The New Art Gallery
Walsall Catalogue. The New Art Gallery Walsall. Re-
trieved 2013-05-16.
[17] “Modigliani Caryatid Drawings”. The New Art Gallery
Walsall. Retrieved 2013-06-16.
[18] Werner, Alfred (1967). Amedeo Modigliani. London:
Thames and Hudson. p. 19. ISBN 0-8109-0323-7.
[19] Secrest, Meryle, Modigliani, Alfred A. Knopf, 2011, p.
181, 183
[20] Secrest, Meryle, Modigliani, Alfred A. Knopf, 2011, p.
181
[21] Secrest, Meryle, Modigliani, Alfred A. Knopf, 2011, p.
298
[22] Secrest, Meryle, Modigliani, Alfred A. Knopf, 2011, p.
182
[23] “Women in Art, PDF” (PDF). shareholder.com. Re-
trieved October 2014. Check date values in: |access-
date= (help)
15
[24] Werner, Alfred (1985). Amedeo Modigliani. New York:
Harry N. Abrams, Inc. p. 24. ISBN 0-8109-1416-6.
[25] Werner, Alfred (1967). Amedeo Modigliani. London:
Thames and Hudson. p. 20. ISBN 0-8109-0323-7.
[26] “Modigliani and the Russian beauty: the affair that
changed him” Retrieved 21 July 2015
[27] Klein, Mason, et al., 61–62
[28] Klein, Mason, et al, 62–63
[29] Klein, Mason, et al, 56
[30] Robin Pgrebin and Scott Reyburn. “With $170.4 Million
Sale at Auction, Modigliani Work Joins Rarefied Nine-
Figure Club”. New York Times.
[31] “Photo”. Museo Thyssen – Bornemisza. Retrieved June
8, 2009.
[32] Lappin, Linda (June 22, 2002). “Missing person in Mont-
parnasse: The case of Jeanne Hebuterne”. Literary Re-
view. 45 (4): 785–811.
[33] Secrest, Meryle, Modigliani, Alfred A. Knopf, 2011, pp.
346–47
[34] Georgina Adam (May 15, 2002), Pushkin accused of dis-
playing a fake Forbes magazine.
[35] Sophia Kishkovsky (November 10, 2011), Pushkin ac-
cused of displaying a fake The Art Newspaper.
[36] Gareth Harris (January 24, 2013), Fake Modiglianis Poi-
son Art Market The Art Newspaper.
[37] “Modigliani nude sells for a record $68.9m”. BBC News.
November 3, 2010.
[38] With $170.4 Million Sale at Auction, Modigliani Work
Joins Rarefied Nine-Figure Club
[39] Peter Schjeldahl, Book review of Meryle Secrest’s
“Modigliani: A Life”, The New Yorker, March 7, 2011
Abstract
[40] “Five masterpieces stolen from Paris modern art mu-
seum”. BBC News. 2010-05-20. Retrieved 2014-07-20.
[41] Kevin Kwong. “Artistic Impressions | South China Morn-
ing Post”. Scmp.com. Retrieved 2014-07-20.
15 Further reading
• Caresse Crosby, ed. (October 1951). Modigliani:
Pencil Portraits. Paris: Black Sun Press. Contains a
178-entry bibliography.
• Secrest, Meryle. Modigliani: A Life. New York:
Alfred A. Knopf, 2011. ISBN 9780307263681.
16 16 EXTERNAL LINKS

16 External links
• Works art PubHist

• “Modigliani: Beyond the Myth”, The Jewish Mu-

seum, New York, 2004

• Modigliani and His Models, The Royal Academy of

Arts, London 2006
• “Review: Modigliani at the Royal Academy of Arts,
London", The Guardian
• Modigliani’s Jewish influences

• Amedeo Modigliani in American public collections,

on the French Sculpture Census website
 17

17 Text and image sources, contributors, and licenses

17.1 Text
• Amedeo Modigliani Source: https://en.wikipedia.org/wiki/Amedeo_Modigliani?oldid=754647886 Contributors: Kpjas, Mav, Bryan
Derksen, Gianfranco, Deb, William Avery, Zoe, DW, Hephaestos, Olivier, Mrwojo, Rbrwr, Michael Hardy, Jtdirl, Jahsonic, Sannse,
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GerardM, Lupo, Xanzzibar, DocWatson42, Paul Richter, Marco Pellegrino, Fudoreaper, Snowdog, Gamaliel, DO'Neil, Solipsist, Jil-
landJack, Bobblewik, Manuel Anastácio, Williamb, Kusunose, Ganymead, Pethan, Alperen, D6, Rich Farmbrough, Guanabot, Sicilarch,
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Nk, Rajah, Hardwick, Polylerus, Alansohn, Gwyndon, AndreasPraefcke, Omphaloscope, Mattbrundage, Arsenio, Dafrito, Woohookitty,
TigerShark, Etacar11, JFG, SDC, Achim Raschka, Gimboid13, Mandarax, Graham87, Sparkit, Melesse, Crzrussian, Rjwilmsi, Arberor,
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R W, That Guy, From That Show!, robot, Wpearl, Attilios, SmackBot, Hydrogen Iodide, GWP, Eskimbot, Commander Keane
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neer, Marek69, Aiko, SomeStranger, Calaka, AntiVandalBot, Tjmayerinsf, Andrewguidrozii, Modernist, Tillman, Sluzzelin, JAnDbot,
D99figge, Barek, Lawrencehu~enwiki, RR, C. C. Perez, Rothorpe, Freshacconci, Celithemis, Bongwarrior, VoABot II, Djkeddie, Avjoska,
JNW, CTF83!, Dances with weasels, Salimi, MartinBot, CliffC, Amedeofelix, Bus stop, CommonsDelinker, Yonidebot, Arocket, John-
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Hiart, FrescoBot, Aiqo, LucienBOT, Archaeodontosaurus, Gingertiger77, Catlo, Tegel, Citation bot 1, Kobrabones, Intelligentsium, Re-
drose64, DrilBot, Elockid, HRoestBot, Alonso de Mendoza, Chocomix, Ozolina, Kgrad, FoxBot, Trappist the monk, Lotje, Venndiagram8,
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Pixie Bot, OleCrotchety, Churchway, Frumoase, Drkup(IMJ), JephthahsDaughter, Mw9999, WikiHannibal, Rococo1700, Georgespou-
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17.2 Images
• File:1916,_Modigliani,_Jean_Cocteau.jpg Source: https://upload.wikimedia.org/wikipedia/commons/8/8d/1916%2C_Modigliani%
2C_Jean_Cocteau.jpg License: Public domain Contributors: Princeton University Art Museum Original artist: Amedeo Modigliani
• File:1916,_Modigliani,_Leon_Indenbaum.jpg Source: https://upload.wikimedia.org/wikipedia/commons/6/6c/1916%2C_
Modigliani%2C_Leon_Indenbaum.jpg License: Public domain Contributors: Henry and Rose Pearlman Collection Original artist:
Amedeo Modigliani
• File:Amadeo_Modigliani_040.jpg Source: https://upload.wikimedia.org/wikipedia/commons/f/f5/Amedeo_Modigliani_040.jpg Li-
cense: Public domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Dis-
tributed by DIRECTMEDIA Publishing GmbH. Original artist: Amedeo Modigliani
• File:Amedeo-modigliani-XX-Portrait-of-Maude-Abrantes-1907.jpg Source: https://upload.wikimedia.org/wikipedia/commons/3/
30/Amedeo-modigliani-XX-Portrait-of-Maude-Abrantes-1907.jpg License: Public domain Contributors: ? Original artist: ?
• File:AmedeoModigliani.jpg Source: https://upload.wikimedia.org/wikipedia/commons/a/a5/AmedeoModigliani.jpg License: Public do-
main Contributors: Own work Original artist: Amedeofelix
• File:Amedeo_Modigliani,_1919,_Jeanne_Hébuterne,_oil_on_canvas,_91.4_x_73_cm,_Metropolitan_Museum_of_Art.jpg
Source: https://upload.wikimedia.org/wikipedia/commons/f/fa/Amedeo_Modigliani%2C_1919%2C_Jeanne_H%C3%A9buterne%2C_
oil_on_canvas%2C_91.4_x_73_cm%2C_Metropolitan_Museum_of_Art.jpg License: Public domain Contributors: Metropolitan Museum
of Art Original artist: Amedeo Modigliani
• File:Amedeo_Modigliani,_1919,_Woman_with_a_Fan,_oil_on_canvas,_100_x_65_cm,_Musée_d'Art_Moderne_de_la_Ville_
de_Paris.jpg Source: https://upload.wikimedia.org/wikipedia/commons/6/63/Amedeo_Modigliani%2C_1919%2C_Woman_with_
a_Fan%2C_oil_on_canvas%2C_100_x_65_cm%2C_Mus%C3%A9e_d%27Art_Moderne_de_la_Ville_de_Paris.jpg License: Public
domain Contributors: Tate Original artist: Amedeo Modigliani
• File:Amedeo_Modigliani_-_Caryatid.jpg Source: https://upload.wikimedia.org/wikipedia/commons/5/55/Amedeo_Modigliani_-_
Caryatid.jpg License: Public domain Contributors: The New Art Gallery Walsall Original artist: Amedeo Modigliani
18 17 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

• File:Amedeo_Modigliani_-_Madame_Kisling_(ca.1917).jpg Source: https://upload.wikimedia.org/wikipedia/commons/1/16/

Amedeo_Modigliani_-_Madame_Kisling_%28ca.1917%29.jpg License: Public domain Contributors: National Gallery of Art,
Washington, D. C., online collection Original artist: Amedeo Modigliani
• File:Amedeo_Modigliani_-_Nu_Couché_au_coussin_Bleu.jpg Source: https://upload.wikimedia.org/wikipedia/commons/1/12/
Amedeo_Modigliani_-_Nu_Couch%C3%A9_au_coussin_Bleu.jpg License: Public domain Contributors: artdaily.org Original artist:
Amedeo Modigliani
• File:Amedeo_Modigliani_-_Paul_Guillaume,_Novo_Pilota_-_Google_Art_Project.jpg Source: https://upload.wikimedia.org/
wikipedia/commons/4/46/Amedeo_Modigliani_-_Paul_Guillaume%2C_Novo_Pilota_-_Google_Art_Project.jpg License: Public
domain Contributors: egGdt6G4tsL9nQ at Google Cultural Institute maximum zoom level Original artist: Amedeo Modigliani
• File:Amedeo_Modigliani_-_Portrait_de_Picasso.jpg Source: https://upload.wikimedia.org/wikipedia/commons/a/a6/Amedeo_
Modigliani_-_Portrait_de_Picasso.jpg License: Public domain Contributors: Museo Progressivo d'Art Contemporanea: Modigliani gli
anni della scultura, Livorno 1984 Original artist: Amedeo Modigliani
• File:Amedeo_Modigliani_-_Portrait_of_Jeanne_Hebuterne,_Seated,_1918_-_Google_Art_Project.jpg Source: https:
//upload.wikimedia.org/wikipedia/commons/1/10/Amedeo_Modigliani_-_Portrait_of_Jeanne_Hebuterne%2C_Seated%2C_1918_
-_Google_Art_Project.jpg License: Public domain Contributors: dAGuxqXh3Gl_rA at Google Cultural Institute maximum zoom level
Original artist: Amedeo Modigliani
• File:Amedeo_Modigliani_-_Portrait_of_Juan_Gris.jpg Source: https://upload.wikimedia.org/wikipedia/commons/6/6c/Amedeo_
Modigliani_-_Portrait_of_Juan_Gris.jpg License: Public domain Contributors: Metropolitan Museum of Art, online collection Original
artist: Amedeo Modigliani
• File:Amedeo_Modigliani_010.jpg Source: https://upload.wikimedia.org/wikipedia/commons/b/b0/Amedeo_Modigliani_010.jpg Li-
cense: Public domain Contributors: Tate Original artist: Amedeo Modigliani
• File:Amedeo_Modigliani_032.jpg Source: https://upload.wikimedia.org/wikipedia/commons/b/bc/Amedeo_Modigliani_032.jpg Li-
cense: Public domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Dis-
tributed by DIRECTMEDIA Publishing GmbH. Original artist: Amedeo Modigliani
• File:Amedeo_Modigliani_037.jpg Source: https://upload.wikimedia.org/wikipedia/commons/e/e7/Amedeo_Modigliani_037.jpg Li-
cense: Public domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Dis-
tributed by DIRECTMEDIA Publishing GmbH. Original artist: Amedeo Modigliani
• File:Amedeo_Modigliani_042.jpg Source: https://upload.wikimedia.org/wikipedia/commons/3/37/Amedeo_Modigliani_042.jpg Li-
cense: Public domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Dis-
tributed by DIRECTMEDIA Publishing GmbH. Original artist: Amedeo Modigliani
• File:Amedeo_Modigliani_056.jpg Source: https://upload.wikimedia.org/wikipedia/commons/6/65/Amedeo_Modigliani_056.jpg Li-
cense: Public domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Dis-
tributed by DIRECTMEDIA Publishing GmbH. Original artist: Amedeo Modigliani
• File:Amedeo_Modigliani_063.jpg Source: https://upload.wikimedia.org/wikipedia/commons/c/cc/Amedeo_Modigliani_063.jpg Li-
cense: Public domain Contributors: The Yorck Project: 10.000 Meisterwerke der Malerei. DVD-ROM, 2002. ISBN 3936122202. Dis-
tributed by DIRECTMEDIA Publishing GmbH. Original artist: Amedeo Modigliani
• File:Amedeo_Modigliani_1919.jpg Source: https://upload.wikimedia.org/wikipedia/commons/5/53/Amedeo_Modigliani_1919.jpg Li-
cense: Public domain Contributors: http://deloffreart.com/2011/04/306/amedeo-modigliani-in-poor-health/ Original artist: Unidentified
photographer
• File:Amedeo_Modigliani_Reclining_Nude_The_Metropolitan_Museum_of_Art.jpg Source: https://upload.wikimedia.org/
wikipedia/commons/0/0d/Amedeo_Modigliani_Reclining_Nude_The_Metropolitan_Museum_of_Art.jpg License: Public domain
Contributors: Metropolitan Museum of Art Original artist: Amedeo Modigliani
• File:Bateau_Lavoir_for_wikipedia_by_davequ.jpg Source: https://upload.wikimedia.org/wikipedia/commons/d/dd/Bateau_Lavoir_
for_wikipedia_by_davequ.jpg License: CC-BY-SA-3.0 Contributors: http://en.wikipedia.org/wiki/Image:Bateau_Lavoir_for_wikipedia_
by_davequ.jpg Original artist: en:User:Davequ
• File:Bride_and_Groom.jpg Source: https://upload.wikimedia.org/wikipedia/commons/0/08/Bride_and_Groom.jpg License: Public do-
main Contributors: [1] Original artist: Amedeo Modigliani
• File:Commons-logo.svg Source: https://upload.wikimedia.org/wikipedia/en/4/4a/Commons-logo.svg License: PD Contributors: ? Origi-
nal artist: ?
• File:GUGG_Beatrice_Hastings.jpg Source: https://upload.wikimedia.org/wikipedia/commons/3/3e/GUGG_Beatrice_Hastings.jpg Li-
cense: Public domain Contributors: Solomon R. Guggenheim Foundation Original artist: Amedeo Modigliani
• File:Gypsy_Woman_with_Baby.JPG Source: https://upload.wikimedia.org/wikipedia/commons/a/a5/Gypsy_Woman_with_Baby.JPG
License: Public domain Contributors: Own work, AgnosticPreachersKid, 2010-06-10 Original artist: Amedeo Modigliani
• File:Jeanne_Hebuterne_seated.jpg Source: https://upload.wikimedia.org/wikipedia/commons/1/1a/Jeanne_Hebuterne_seated.jpg
License: Public domain Contributors: Galerie André Roussard, Montmartre [1]
Original artist: Unknown<a href='//www.wikidata.org/wiki/Q4233718' title='wikidata:Q4233718'><img alt='wikidata:Q4233718'
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