Part of our job is to visit as many exhibits as possible. This is why we went to Livorno. The city that gave birth to Modigliani, exhibits his works not far from the place where the famous “heads” were found. Goliardic prank that, perhaps, marked the destiny of Modigliani‘s works, constantly questioned on autography.
Just before the exhibition entrance, we find the “comment book”, where the last one catches our eye. The note expresses great disappointment.
Past the cerulean tent, we found a conspicuous group of various artists, with who Modigliani shared not only a few years of artistic life, but also, patrons, like Zborowski, who paid him since 1915, and collectors like Netter. The importance of the Netter collection in the history of Modi’ is particularly evident in this exhibition and this gives a great insight on the market dynamics around Modigliani.
Among all works, our attention is caught by “Hanka Zborowska” (pencil on paper, 42 x 26 cm), and on how the sheet of paper used could be part of a block on which Amedeo drew. In fact, looking at the page in raking light, we can see a tracing mark, due to the pressure of the pencil on the previous sheet, that probably drew a portrait.
The space reserved for Modi’ is the very intimate, perhaps too much, only a fifth of the exhibited works. Leaving this area, we find ourselves again among his contemporaries, belonging to two great collections mentioned in the subtitle of the exhibition, Netter and Alexander
We go out, leaving the cerulean tent behind, and we think back about the comment read about an hour before. In fact, we also experienced a sense of unfinished: the sentence “300 francs a month for the material needed, canvases, colors” mentioned in one of the explanatory panels comes to our mind.
We would have loved to know what canvases, what colors. Crucial information especially for this artist, from whom high and low quality copies are known, and for the moment market goes through. We would have loved if some scientific elements would have been shared, so to share understanding of his technique and therefore his poetry.
As a side note, we, always looking for repentances on the works on display, have discovered some interesting details. We share with you some images, but why not going and verifying directly?