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拍品专文
Modigliani arrived in Paris in January 1906. He mainly drew and painted portrait and nude subjects, which were influenced by the works of Paul Cézanne, African art, the art of Southeast Asia, and the Italian Trecento.
In his 1914 portraits of fellow painters Diego Rivera (Ceroni, no. 41) and Frank Burty Haviland (Ceroni, nos. 42 and 43), Modigliani adapted a technique derived from the divisionist brushstroke of the Neo-Impressionists, using small tesserae-like patches of color, similar to the style that Paul Signac was still employing at this time. This may have appeared to be a somewhat retrogressive practice at this late date, but Modigliani was probably looking at the divisionist technique that the Futurist Gino Severini had introduced into his paintings of 1913-1914. This may have inspired Picasso to incorporate passages of decorative pointillism in some of his papier-collés during this same period.
The stippled technique in the present drawing, executed in the following year, marks the final evolution of this technique into an expressive means of creating firm and forceful contours that simultaneously allow the painted sheet to display an aerated and a vibrant surface. The effect is similar to that of the repeated, broken parallel contours seen around objects in late Cézanne watercolors. Modigliani dipped his brush in paint, rubbed off most of the wet pigment so that his brush was almost dry, and quickly dabbed the paper in rhythmically punctuated strokes. The influence of this practice can be seen in the saw-tooth line and emphatically hatched passages in later pencil drawings.
In his 1914 portraits of fellow painters Diego Rivera (Ceroni, no. 41) and Frank Burty Haviland (Ceroni, nos. 42 and 43), Modigliani adapted a technique derived from the divisionist brushstroke of the Neo-Impressionists, using small tesserae-like patches of color, similar to the style that Paul Signac was still employing at this time. This may have appeared to be a somewhat retrogressive practice at this late date, but Modigliani was probably looking at the divisionist technique that the Futurist Gino Severini had introduced into his paintings of 1913-1914. This may have inspired Picasso to incorporate passages of decorative pointillism in some of his papier-collés during this same period.
The stippled technique in the present drawing, executed in the following year, marks the final evolution of this technique into an expressive means of creating firm and forceful contours that simultaneously allow the painted sheet to display an aerated and a vibrant surface. The effect is similar to that of the repeated, broken parallel contours seen around objects in late Cézanne watercolors. Modigliani dipped his brush in paint, rubbed off most of the wet pigment so that his brush was almost dry, and quickly dabbed the paper in rhythmically punctuated strokes. The influence of this practice can be seen in the saw-tooth line and emphatically hatched passages in later pencil drawings.