Nfts Drops

Reveal on 30/01/2022

Drop #1

(oil on canvas) by Modigliani, Amedeo (1884-1920); 100×64.5 cm; 

Museu de Arte Contemporanea from Universidade de Sao Paulo, Sao Paulo, Brazil

Currently preserved in the Museum of San Paolo in Brazil, the painting refers to Modigliani’s self-portrait, the only one he has painted in which he is represented with the unmistakable handkerchief around his neck, coming from the collection of Jolanda Penteado Matarazzo and previously belonging to the entrepreneur and patron Riccardo Gualino.

The work was built around the end of 1919, shortly before his tragic death. No painting appears on the walls and the environment in which he portrays is not perceived; however it is known that the last home where the artist lived, starting from 1917, was on the penultimate floor of number 8 in rue della Grande-Chaumière, the same atelier where the painter Paul Gauguin also lived from 1893 to 1894.

Palette and brushes held in his right hand are the only details alluding to his artistic profession. The thin and tired face, as well as the expression of suffering can only lead to the omen of the imminent end of the great Master.

Reveal on 04/03/2022

Drop #2

(oil on canvas) by Amedeo Modigliani (1884-1920); 78.5×39 cm;

Alice, the title, placed on top in block letters, was given by the artist himself as per his own custom. According to the testimonies of Jean Cocteau and Andrè Salmon, the young Alice portrayed here was the lover of the writer and poet Raymond Radiguet – also portrayed by Amedeo – when the boy was just fourteen. She, ten years older, inspired him the figure of the protagonist of the novel “Le diable au corps” (the devil in the body) of 1921 in which Radiguet tells the relationship between a young man and a married woman older than him. Two cinematographic versions have been drawn from this literary work: that of the French Autant-Lara of 1947 and that, more recent of 1986, of Marco Bellocchio; both films bear the name of the novel.

Alice is portrayed from the front and the planes have a geometric order that creates a sense of calm and harmony. African masks and Renaissance art were important sources of inspiration for Modigliani’s painting. On this basis he developed a language made up of simplified and elongated shapes, here accentuated by the tall and narrow format.

In this portrait, the refinement of the details stand out as well as the harmony of the variations and chromatic contrasts, elements that contributed to giving value to the work.

Reveal on 11/03/2022

Drop #3

(oil on canvas) by Modigliani, Amedeo (1884-1920); 78.5×39 cm;

‘La femme à l’éventail “is one of the numerous portraits that Amedeo Modigliani made of his friend and confidant Lunia Czechowska, perhaps his favorite model, and reflects his latest style: a painting that is influenced by Cubism but also by those of sculpture, which the artist practiced until 1914. In this portrait, the woman, characterized by the elongation of the lines of the body and the absence of pupils, elements that characterize Modigliani’s art, occupies the entire height of the canvas. Painted shortly before his death, the work reflects elements of the artist’s last manner: the palette is clear and the stylization, taken to the extreme, underlines the ethereal and melancholy character of the model. The simplified drawing, the shallow space, the construction of the volume in rigorous planes underlines the influence of Cubism, but also that of its sculptural production. The painting was stolen from the Musée d′Art Moderne de la Ville de Paris, together with other paintings by Picasso, Braque, Matisse and Leger, on 20 May 2010 and never found again. One of the thieves, arrested together with his accomplices, confessed to having thrown the canvases in a garbage can which, therefore, could have been destroyed.

Reveal on 18/03/2022

Drop #4

(oil on canvas) by Modigliani, Amedeo (1884-1920); 54,5 x 46 cm.

The woman portrayed, a mutual friend of Paul Alexandre and Amedeo Modigliani, was themselves called “the Jewess”.

The painting, together with five other works by Modigliani, including the “Bust of a Young Man” and the “Seated Man” (of the other three, to date, nothing is known), was exhibited in 1908 for the first time at the Salon des Indépendants in Paris.

The painting, one of the first made by Modigliani after his move to Paris, shows a style not yet fully formed, so much so that his painting is still characterized by nervous and sharp brushstrokes, a legacy of his interest in Klimt and Toulouse-Lautrec. In this painting we can glimpse the still uncertain orientation of Amedeo among the different avant-garde currents. In the statuary structured portrait, full of energy, we can read both the linear art influences of a Toulouse-Lautrec and echoes of the exhausted faces of Picasso from the blue period.

Despite the open brushstroke, the Jewess is an extremely balanced painting, whose main intent lies not in the autonomous use of colors and surfaces, but in the communication of a humoral expression. Scepsis, moderation, and the defiant gaze turned to the observer demonstrate an interest in the psychology of the person represented. However, in this painting there are areas strongly characterized by the pure pictorial treatment of the support, such as, for example, the chromatic field of the lower right edge, to which no concrete object can be matched.

The determining definition of Maurice Denis (1870 – 1943), that a painting, before representing a steed, a nude or an anecdote, is simply a surface which is then covered, according to a certain organization, with colors, has left its traces also in Modigliani.

Reveal on 25/03/2022

Drop #5

(oil on canvas) by Modigliani, Amedeo (1884-1920); 130.2 x 81.3 cm

Museum of Modern Art, New York, USA

Museu de Arte Contemporanea from Universidade de Sao Paulo, Sao Paulo, Brazil

Currently preserved in the Museum of San Paolo in Brazil, the painting refers to Modigliani’s self-portrait, the only one he has painted in which he is represented with the unmistakable handkerchief around his neck, coming from the collection of Jolanda Penteado Matarazzo and previously belonging to the entrepreneur and patron Riccardo Gualino.

The work was built around the end of 1919, shortly before his tragic death. No painting appears on the walls and the environment in which he portrays is not perceived; however it is known that the last home where the artist lived, starting from 1917, was on the penultimate floor of number 8 in rue della Grande-Chaumière, the same atelier where the painter Paul Gauguin also lived from 1893 to 1894.

Palette and brushes held in his right hand are the only details alluding to his artistic profession. The thin and tired face, as well as the expression of suffering can only lead to the omen of the imminent end of the great Master.

Reveal on 01/04/2022

Drop #6

(oil on canvas) by Modigliani, Amedeo (1884-1920); 46.7 x 33.5, 1919 – private collection

Leopold Zborowski, Polish writer and poet is remembered mainly for being one of the major art dealers of the first half of the 20th century, a contemporary of Henri de Toulouse-Lautrec, Paul Cézanne, André Derain and Amedeo Modigliani who portrayed him in various portraits. At the time, Amedeo’s paintings did not find great success among buyers, while Leopold was enthusiastic about the young Italian’s works and, encouraged by Kisling and Foujita’s wife, decided to take charge of his artistic promotion. In December 1917 Zborowski organized Amedeo’s first solo exhibition at the Berthe Weill gallery with the exhibition of nudes which, causing scandal and police intervention, was closed shortly after. In September 1919 Leopold had 10 paintings by Modigliani exhibited at the Hill Gallery in London together with other painters. The press is in favor of him and success begins for Amedeo.

Reveal on 15/04/2022

Drop #7

(oil on canvas) by Modigliani, Amedeo (1884-1920); 54,6 x 45,7 cm; 

The man depicted in this portrait is Léon Indembaum – whose identity is revealed by the writing affixed to the top as per Modigliani’s custom. To accentuate the sculptural effect of the work, the painter’s signature at the bottom seems to be engraved in the marble. Sculptor of Russian origins, Léon Indembaum reached the French capital in 1911 at the age of twenty-one, attracted by the artistic atmosphere he aspired to, moving to “La Ruche” in Montparnasse, a structure that housed several artists’ studios. He becomes a close friend of Modigliani who, in addition to sharing his passion for art with Russian sculpture, is also his guest for some time before renting the adjacent studio. It is one of the rare portraits of Modigliani executed with a palette of cold tones. The pallor of the face and the petrified gaze contrasts not only with the dark background that refers to slate slabs but also with the good and generous character of the artist portrayed.

Reveal on 22/04/2022

Drop #8

(oil on paper glued on cardboard)
by Modigliani, Amedeo (1884-1920); 54 x 45,5 cm;

On the day of Amedeo’s funeral, January 27, 1920, the painting exhibition organized by Paul Guillaume at the Devambez Gallery opens to the public. The head of a woman with the velvet ribbon appears among the works by Modigliani on display. Unlike the painter’s custom, the young woman appears against a green naturalistic background of which she is an integral part. In fact, the theme of the landscape will be dealt with by Modigliani during his stay in the South of France, in 1918-19, therefore after this portrait.

Reveal on 29/04/2022

Drop #9

(oil on canvas) by Modigliani, Amedeo (1884-1920); 55 x 38, 1919 – private collection

Jeanne Hébuterne, born in Paris on April 6, 1898, died in Paris on January 25, 1920, companion of Amedeo Modigliani, devoted to the utmost sacrifice. So says the epitaph engraved on the tombstone of Jeanne Hébuterne, companion and inspiring muse of Amedeo Modigliani, remembered above all for her love and devotion to the Italian artist, less for her personal skills as a painter and her works. . Petite, with thick brown hair with red reflections and an ethereal complexion, Jeanne is nicknamed by everyone Noix de Coco, (coconut), for the strong contrast between the long brown braids and the paleness that didn’t even give the idea of flesh ‘, as described by Lipchtz, a Lithuanian sculptor friend of Modigliani.

Reveal on 06/05/2022

Drop #10

(oil on canvas) by Modigliani, Amedeo (1884-1920); 92,5 x 60,5 cm

Kunstumuseum Basel, Switzerland

During his stay in the south of France, Amedeo portrays a series of children. He has no paid models or commissioned portraits available. He then paints ordinary people by freely choosing his subjects, including children and youngsters. Italy at the beginning of the century was characterized by large families with many children and Amedeo had grown up in Livorno in this environment. In portraying the children in the innocence and spontaneity typical of their age in Modigliani, his Livorno childhood must have come to mind. In this portrait the little girl with big eyes appears not very casual. The black apron is made a little less severe by the embroidery hinted at on her bust. He helps to structure the composition of the book placed on the dresser as well as being an element that qualifies the child as a good and studious schoolgirl.

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Reveal on 13/05/2022

Drop #11

(oil on canvas) by Modigliani, Amedeo (1884-1920); 

Leopold Zborowski, Polish writer and poet is remembered mainly for being one of the major art dealers of the first half of the 20th century, a contemporary of Henri de Toulouse-Lautrec, Paul Cézanne, André Derain and Amedeo Modigliani who portrayed him in various portraits. At the time, Amedeo’s paintings did not find great success among buyers, while Leopold was enthusiastic about the young Italian’s works and, encouraged by Kisling and Foujita’s wife, decided to take charge of his artistic promotion. In December 1917 Zborowski organized Amedeo’s first solo exhibition at the Berthe Weill gallery with the exhibition of nudes which, causing scandal and police intervention, was closed shortly after. In September 1919 Leopold had 10 paintings by Modigliani exhibited at the Hill Gallery in London together with other painters. The press is in favor of him and success begins for Amedeo.

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Reveal on 20/05/2022

Drop #12

Beatrice Hastings seated 1915 (oil on canvas), by Modigliani, Amedeo (1884-1920);

Stage name of Emily Alice Haigh (London, 12 May 1879 – Worthing, 30 October 1943). She was an English writer, poet and journalist, famous for her relationship with Amedeo Modigliani. She was born in London and raised in South Africa, she was committed to abolishing the death penalty, reforming the penal system and feminist causes. She moves to Paris shortly before the outbreak of the First World War, where she begins her literary activity as a correspondent for the British newspaper The New Age, for which she writes art criticisms using various pseudonyms. She soon became a leading figure in the bohemian circles of the French capital, thanks above all to the friendship that binds her to Max Jacob. Defined as “Lady Virago” for her dominant character, she is a rich and eccentric woman who loves to wear large hats full of flowers.

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Extra 1 | Drop #1

There are many stories intertwined between the lines of the promise of marriage made by Amedeo to his beloved Jeanne. Through an in-depth examination of these writings it will be possible to relive the events that have marked the artist’s life. Enjoy the reading.

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Glitch Genesis. The beginning of the journey into the metaverse through the works and life of Amedeo Modigliani. What I am seeking is not the real and not the unreal but rather the unconscious, the mystery of the instinctive in the human race.

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Narration. A step forward towards our project of cultural dissemination of the life and works of Amedeo Modigliani. Let’s retrace the events that marked his path together, greatly influencing his works and his vision of human existence.

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Connection. With his portraits Modigliani tells us about the intertwining of the various literary salons. Alice is the lover of the young poet and writer Raymond Radiguet who in turn has a parallel relationship with one of the most prominent intellectuals of the time, Jean Cocteau. Poet, essayist, playwright, screenwriter, draftsman, writer, librettist, director and actor, Coteau had a deep bond with Amedeo Modigliani as this historical document testifies. Enjoy the reading.

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Glitch Diable. Our journey into the metaverse through the works and life of Amedeo Modigliani continues. With one eye you are looking at the outside world, while with the other you are looking within yourself.

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The Portrait. Taking a moment to make it immortal is a way to challenge life. A leap into eternity. The single expression of a feeling, of a meaning hidden behind the brushstrokes of a master’s hand, is capable of writing authentic pieces of history that will remain with us forever. Dedicated to our beloved Amedeo.

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The Voice. Lunia is one of Modigliani’s favorite models because it has a very long neck, a characteristic that the painter loves a lot and therefore emphasizes. Now let’s listen to her voice as she narrates the events that have linked her to the great master Amedeo Modigliani, while we admire the details of this amazing work.

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Glitch Fan. Our journey into the metaverse through the works and life of Amedeo Modigliani continues. Happiness is an angel with a serious face.

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The Steal. The work La femme à l’éventail was stolen from the Musée d’Art Moderne de la Ville de Paris on May 20, 2010 along with other works by Picasso, Legér, Matisse and Braque. The dynamics of the theft from the Parisian museum is incredible: the investigators confirm that it was a solitary thief, dressed in black and certainly gifted with great audacity, who took away the five masterpieces. The man would have entered the museum by breaking glass and cutting a grate. The surveillance cameras filmed the theft second by second, which certainly took place shortly after closing, shooting the thief, a hooded man. Shortly before the doors of the building opened, the surprise: the security officers found a broken glass and soon after they found a cut lock.

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Packing. It is 1908, Amedeo Modigliani has been in Paris for two years. His style of him, as evidenced by the painting La Juive, is not yet fully formed as is his reputation as an artist. In this image we want to imagine a moment in which Amedeo, after having exhibited the painting at the Salon des Independants, put the canvas in his place without exhibiting any of his works at the Salon d’Automne that same year.

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Traits. Our journey into the metaverse through the works and life of Amedeo Modigliani continues. It is your duty in life to save your dream.

Extra 3 | Drop #4

Delta Studio. La Juive painting hung inside the Delta Studio in Paris. Here Modigliani, thanks to Paul Alexandre, has the opportunity to meet several artists who frequent this place, encounters that certainly benefit the Livorno painter who has recently landed in Paris, catapulted into a completely different reality. Although the Delta is frequented by established artists, the paintings of Modigliani stand out on the walls of the main rooms, demonstrating that Alexandre had understood the greatness of this artist since he was a complete stranger and his art practically ignored.

Extra 1 | Drop #5

L’Eventail. We have created a copy of the original 1919 magazine L’Éventail. In this edition Francis Carco, a French writer born in New Caledonia in 1886, praises Amedeo Modigliani in a very detailed article. The two had several social relationships in common, including the Zborowski family. A copy of this magazine was even sent by Amedeo to his mother.

Extra 2 | Drop #5

Traits. Our journey into the metaverse continues through the works and life of Amedeo Modigliani. The function of art is to fight against the obligation.

Extra 3 | Drop #5

Chaim Soutine. The relationship that binds Modigliani to Hanka’s husband is not just commercial. In fact, before moving to his latest studio in the rue de la Grande Chaumière, the painter visited the Zborowski house every day to paint in the dining room, the largest room in the house. There he paints many of the portraits from 1916-17 and a series of nudes from 1917-18. One day, to spite Mrs. Zborowski, Modigliani paints on the door of the room the portrait of Chaim Soutine, a Russian painter friend of Modigliani who, however, Hanka cannot stand.

Extra 1 | Drop #6

Story. Chapter 01 of a series of stories taken from real events. Let’s revive the meeting between Modigliani and Renoir, in the 1918.

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Traits. Our journey into the metaverse through the works and life of Amedeo Modigliani continues. Rome is not outside me, but inside me.. Her feverish sweetness, her tragic countryside, her own beauty and harmony, all these are mine, for my thought and my work.

Extra 3 | Drop #6

Cagnes-sur-Mer. In April 1918 Leopold Zborowski managed to convince Modigliani to move to the French Riviera, first to Nice and then to Cagnes-sur-Mer. The artist’s health has deteriorated, Jeanne is pregnant and war looms over Paris. The merchant hopes that the healthy air of the Mediterranean will benefit Amedeo’s lungs and that the cosmopolitan environment far from the bombings of the conflict will also benefit the sale of the paintings. In fact, the French Riviera in recent months is crowded with many people seeking refuge from the horrors of fighting. There the war seems very far away, the restaurants are full and the hotels are full. Many artists, intellectuals and actors who have repaired in MIDI and that Amedeo will immortalize in his portraits in an incredible gallery of faces.

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Photo. The building in the picture is La Ruche, also called beehive due to its shape, is located in the Vaugirard district on the edge of Montparnasse. La Ruche was an old polygonal structure which, with its numerous ateliers, gave hospitality to many of the greatest painters and sculptors of the early twentieth century, such as Modigliani, Soutine and Chagall. Each room had the shape of a slice of cake, in the tip a space for the kitchen and closet while above the door a small mezzanine served as a sleeping area. These were studios which were often also shared. During the Second World War the structure went into decline and risked demolition but, thanks to a committee created by Marc Chagall as honorary president and by 30 other artists, including Jean-Paul Sartre, Jean Renoir and Renato Guttuso, the land it was repurchased and donated to the French state, creating a nationalfoundation that made it untouchable. Artists of all nationalities still live there, more or less permanently.

Extra 2 | Drop #7

Traits. Our journey into the metaverse through the works and life of Amedeo Modigliani continues. I want to be a tuneswept fiddle string that feels the master melody, and snaps.

Extra 3 | Drop #7

Entrance to the Rouche. That green door was crossed by many of the greatest painters, sculptors and mosaicists of the early twentieth century. Alfred Boucher (1850-1934) patron and sculptor purchased the Rouche with the intent of helping poor but talented artists who came to Paris from all over the world and offer residents models and an exhibition space. Those who lived in La Ruche had to pay a very low rent that young artists almost never paid, but Alfred Boucher never solicited or kicked out anyone.

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Book. Another short story to get to know and appreciate all the background of the life and works of Amedeo Modigliani.

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Our journey into the metaverse through the works and life of Amedeo Modigliani continues. This is the first real look inside the Room 4, and the very first hint about the future Amedeo Modigliani Digital Collection Metaverse.

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Landscape. During his time in the south of France, Amedeo became passionate about life in the open air and painted various landscapes. The canvas of La femme au ruban de velours is a sort of avant-garde that anticipates the future artistic period of Amedeo, also influenced by his encounter with Renoir.

Le catalogue des Maudits will collect artists

CHOSEN AND SELECTED BY THE INSTITUTE.

A collection of works
by contemporary artists
inspired by

Modigliani Inspired Artists Collection

Le catalogue des maudits​

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