Amedeo Modigliani, l'art du portrait et du nu: Entre by 50 minutes, Coline Franceschetto

By 50 minutes, Coline Franceschetto

Décryptez l'art d'Amedeo Modigliani en moins d'une heure !
Figure éminente de l. a. bohème parisienne au tournant du XXe siècle, Amedeo Modigliani reste cependant en marge des avant-gardes de l'époque. Il élabore, dans une quête stylistique sans fin, des pics épurés où se mêlent mélancolie et absence, mais aussi des nus qui créent le scandale. Entre culture et modernité, Modigliani invente un artwork inimitable et reconnaissable entre mille !

Ce livre vous permettra d’en savoir plus sur :
- Le contexte culturel dans lequel Amedeo Modigliani s’inscrit
- l. a. vie de l'artiste et son parcours
- Les caractéristiques et spécificités de son art
- Une sélection d’œuvres-clés de Modigliani
- Son effect dans l’histoire de l’art

Le mot de l'éditeur :
« Dans ce numéro de los angeles série "50MINUTES | Artistes", Coline Franceschetto se penche sur le parcours d'Amedeo Modigliani, cet artiste toscan qui établit ses quartiers à Paris à l'aube d'un siècle nouveau... "Nouveau", son paintings l'est aussi : analysant les thèmes de prédilection et le type si particulier de l'artiste, l'auteure nous fait pénétrer dans les méandres d'un paintings specific en son style. Coline Franceschetto étudie plus particulièrement certaines œuvres emblématiques de Modigliani, notamment La Juive ou Nu couché aux bras ouverts. »
Stéphanie Felten

À PROPOS DE los angeles SÉRIE 50MINUTES | Artistes
La série « Artistes » de los angeles assortment « 50MINUTES » aborde plus de cinquante artistes qui ont profondément marqué l’histoire de l’art, du Moyen Âge à nos jours. Chaque livre a été conçu à los angeles fois pour les passionnés d’art et pour les amateurs curieux d’en savoir davantage en peu de temps. Nos auteurs analysent avec précision les œuvres des plus grands artistes tout en laissant position à toutes les interprétations.

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Extra info for Amedeo Modigliani, l'art du portrait et du nu: Entre tradition et avant-garde (Artistes, numéro 38)

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The Pushkin Museum of Fine Arts, Moscow. 62 In a number of pictures of this period, the stylized effects of the cloisonnist technique are almost completely ousted by a softer and more natural treatment. The gently applied strokes of red paint against a large monochrome area of yellow in the foreground create the illusion of shadows gliding in the air and on the ground surface. The same broad, sweeping brushwork distinguishes another landscape, The Big Tree (Art Institute of Chicago). While discovering the beauty of the new land, the artist did not feel it necessary to modify his visual impressions, since both the landscape and the people in it were fairly exotic, mysterious and picturesque.

All the Orient – the great thought written with the golden letters in all their art; it’s all worth studying. And it seems to me that I’ll reimmerse myself there,” he wrote when the decision to leave France had already been made. “The Occident is corrupt now, and all that is powerful can like Antaeus, renew its strength by touching the earth there 11”. Preparing for his departure, the artist collected the necessary materials – photographs of monuments of oriental art, reproductions, books, magazines and guidebooks.

Hence Gauguin’s new tendency to concentrate large pools of contrasting colour to stress contours and smooth, expressive lines. “I have never before made paintings so clear, so lucid 6”, he wrote to Schuffenecker. After Martinique, he remained forever faithful to the arabesque – that ‘thread of Ariadne’, as it was dubbed by René Huyghe, which proved so important in his future work particularly in the development of cloisonnism or synthetism. This new, real Gauguin failed to conceal his quest for a different, a non-European imagery – both in his art and in his life.

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