- Om objektet
- Amedeo Modigliani (1884-1920)
signed ‘modigliani’ (upper right)
oil on canvas
23 5/8 x 36 ¼ in. (59.9 x 92 cm.)
Painted in 1917-1918
- Amedeo Modigliani
- Nu couché
- 23 5/8 x 36 ¼ in. (59.9 x 92 cm.)
- Oil on canvas
- Signed ‘modigliani’ (upper right)
- Amedeo Modigliani , 1910s, Paintings, oil, Italy, Modern, figures, nude
- Paris, Galerie Bing & Cie., Modigliani, October-November 1925.
Venice, Giardini della Biennale, La XVII Biennale di Venezia, May-November 1930, no. 1265.
Budapest, Mucsarnok, Modern olasz muvészeti kiállítás, January-March 1936, p. 38, no. 314 (illustrated; titled Fekvo noi akt).
Galleria di Roma, Omaggio a sedici artisti italiani, 1937, no. 11 (illustrated; titled Nudo).
Brussels, Société Auxiliaire des Expositions du Palais des Beaux-Arts, Art Italien Contemporain, January-February 1950, no. 69 (illustrated).
Amsterdam, Stedelijk Museum, Figuren uit de Italiaanse kunst na 1910, March-April 1950, no. 70 (illustrated; titled Naakt).
Paris, Musée national d’art moderne, Exposition d’Art Moderne Italien, May-June 1950, no. 50.
London, Tate Gallery, Modern Italian Art: An Exhibition of Paintings and Sculpture Held Under the Auspices of The Amici di Brera and The Italian Institute, June-July 1950, p. 13, no. 63 (illustrated, pp. 62-63, pls. 8 and 9; titled Recumbent Nude).
Cleveland Museum of Art and New York, The Museum of Modern Art, Modigliani: Paintings, Drawings, Sculpture, January-June 1951, p. 52 (illustrated in color, p. 14; titled Nude on a Cushion).
Florence, Palazzo Strozzi, Arte moderna in una raccolta italiana, April-May 1953, no. 21 (illustrated, pl. 11; titled Grande nudo).
Rome, Palazzo delle Esposizioni, VII Quadriennale nazionale d’arte di Roma, November 1955-April 1956, p. 58, no. 61 (dated 1917 and titled Nudo rosa).
Milan, Palazzo Reale, Mostra di Amedeo Modigliani, November-December 1958, p. 26, no. 34 (illustrated in color, pl. 34; dated 1917 and titled Nudo sdraiato).
Turin, Civica galleria d’arte moderna, Capolavori d’arte moderna nelle raccolte private, October-December 1959, p. 42, no. 24 (illustrated in color, pl. 3; titled Nudo coricato).
Florence, Palazzo Strozzi, Arte Moderna in Italia, 1915-1935, February-May 1967, p. XXIII, no. 446 (illustrated in color, p. 101; dated 1917 and titled Nudo disteso; on the label on the reverse, the dates of the exhibition appear as November 1966-February 1967 and the work is numbered 738).
Washington, D.C., The Phillips Collection; Dallas Museum of Fine Arts; San Francisco Museum of Art; Detroit Institute of Arts; Kansas City, William Rockhill Nelson Gallery of Art; Boston Museum of Fine Arts and New York, Olivetti, Masters of Modern Italian Art from the Collection of Gianni Mattioli, February 1967-March 1969, no. 69 (illustrated; detail illustrated in color on the cover).
Brussels, Palais des Beaux-Arts; Humlebæk, Louisiana Museum of Modern Art; Hamburger Kunsthalle; Madrid, Museo Español de Arte Contemporáneo and Barcelona, Palacio de la Virreina, Mai^tres de l'art moderne en Italie: Collection G. Mattioli, Milan, September 1969-January 1971, p. 68, no. 69 (illustrated).
Kyoto, The National Museum of Modern Art and Tokyo, The National Museum of Modern Art, Masters of Modern Italian Art from the Collection of Gianni Mattioli, April-July 1972, p. 126, no. 69 (illustrated, p. 77).
Tokyo, Museum of Contemporary Art, A History of Art in Italy in the Twentieth Century, September-December 2001, no. 20.
London, Royal Academy of Arts, Modigliani and His Models, July-October 2006, p. 155, no. 21 (illustrated in color, pp. 100-101; illustrated again in color as a frontispiece; dated 1917 and titled Reclining Nude with Outstretched Arms).
- As an image, Nu couché has been published so extensively and in such a wide range of publications that we thought it wise to limit the below list to the most relevant technical bibliography.
G. da Verona, Azyadèh, la donna pallida, Florence, 1928.
A. Pfannstiel, L’Art et la vie: Modigliani, Paris, 1929, p. 25/IV.
G. Chessa, “Per Amedeo Modigliani” in L’Arte, vol. XXXIII, no. 1, Turin, January 1930, p. 40 (illustrated, fig. 6).
G. da Verona, I promessi sposi, Milan, 1930.
L. Venturi, “The Collection of Modern Art of Signor Gualino and the Modigliani Room at the Venice Biennial Exhibition” in Formes, no. 7, July 1930 (illustrated opposite p. 9; titled Nude).
M. Guerrisi, La nuova pittura: Cézanne, Matisse, Picasso, Derain, De Chirico, Modigliani, Turin, 1932 (illustrated, pl. 17; titled Nudo).
G. Scheiwiller, Amedeo Modigliani, Milan, 1935 (illustrated in color; titled Nudo).
R. Huyghe, French Painting: The Contemporaries, New York, 1939 (illustrated, pl. 63; titled Nude on Divan).
P. Piovene, La raccolta Feroldi, Milan, 1942 (illustrated in color, pl. 43; titled Nudo).
Amedeo Modigliani, Jules Pascin, Chaïm Soutine, Tel Aviv, 1944 (illustrated, pl. 7; titled Nude).
C. Carrà, Artisti Moderni: con una lettra di Massimo Bontempelli, Florence, 1944, pp. 86-88.
R. Franchi, Modigliani, Florence, 1944, p. 52 (illustrated in color, pl. XXX; titled Nudo rosso).
R. Carrieri, 12 opere di Amedeo Modigliani, Milan, 1947 (illustrated in color, pl. 8; titled Nudo).
H.F. Kraus, ed., Modern Italian Painters: Campigli, Carra, Sironi, De Chirico, Modigliani, Garbari, Guidi, Marussig, De Pisis, Morandi, Englewood, New Jersey, 1947 (illustrated in color, pl. 5).
P. Piovene, La raccolta Feroldi, 2nd edition, Milan, 1947 (illustrated in color, pl. 17; titled Nudo rosso).
G. da Verona, Le canzoni di sempre e di mai di ieri e di domani, Milan, 1947.
L. Venturi, Pittura contemporanea, Milan, 1948, p. 68 (illustrated, pl. 153; dated 1918 and titled Nudo di donna).
U. Apollonio, “Amedeo Modigliani” in Cahiers d'art: Un demi-siècle d'art italien, vol. 25, no. 1, Paris, 1950 (illustrated, p. 167).
R. Carrieri, Pittura scultura d'avanguardia in Italia, Milan, 1950 (illustrated, p. 93, pl. 104; titled Nudo).
D. Cogniat, Orientations de la peinture française de David à Picasso, Nice, 1950 (illustrated, pl. 131; titled Nu).
G. Marchiori, Modigliani: Sei tavole a colori, Milan, 1950 (illustrated in color; titled Nudo).
G. Scheiwiller, Amedeo Modigliani, Milan, 1950 (illustrated, pl. 9; dated 1917 and titled Nudo).
M. Cinotti, La Femme nue par les peintres, Paris, 1951 (illustrated, pl. 43; illustrated on the cover; titled Nu au divan).
P. Descargues, Amedeo Modigliani, Paris, 1951 (illustrated, pl. 4; titled Nu au divan).
J. Lipchitz, Amedeo Modigliani, New York, 1952 (illustrated in color, p. 15; titled Nude on a Cushion).
M. Valsecchi, 24 dipinti in una raccolta d’arte moderna, Milan, 1952 (illustrated in color, pl. 8; titled Nudo).
R. Benet, Simbolismo, Barcelona, 1953 (illustrated, pl. 227; titled Desnudo rojo).
F. Carco, L'ami des peintres, Paris, 1953 (illustrated; titled Nu).
G. Jedlicka, Modigliani, Zürich, 1953 (illustrated in color, pl. 32).
J. Lipchitz, Modigliani, New York, 1953 (illustrated in color, pl. 10; titled Nude on a Cushion).
P. D’Ancona, Modigliani, Chagall, Soutine, Pascin: Some Aspects of Expressionism, Milan, 1954 (illustrated in color, p. 11; titled Nude).
P. Descargues, Amedeo Modigliani, Paris, 1954 (illustrated, pls. 4 and 54-55; dated 1917 and titled Nu au divan).
J. Lipchitz, Amedeo Modigliani, New York, 1954 (illustrated in color, pls. 33-34; titled Nude on a Cushion).
G. Castelfranco and M. Valsecchi, Pittura e scultura italiane dal 1910 al 1930, Rome, 1956, p. 96 (illustrated, pl. XCVIII; titled Nudo rosa).
A. Chastel, L’art italien, Paris, 1956, vol. II (illustrated, pl. CXXV; titled Nu).
A. Pfannstiel, Modigliani et son oeuvre: Étude critique et catalogue raisonné, Paris, 1956, p. 104, no. 152 (illustrated, pl. 48; titled Nu au divan and Nu couché (les mains derrière la tête)).
M. Garland, The Changing Face of Beauty: Four Thousand Years of Beautiful Women, London, 1957, p. 178 (illustrated).
J.A. Cartier, Modigliani: Nus, Paris, 1958 (illustrated in color, pl. 3).
A. Ceroni, Amedeo Modigliani: Peintre, Milan, 1958, pp. 62-63, no. 124 (illustrated in color, pl. 124).
C. Roy, Modigliani, Geneva, 1958, p. 132 (illustrated in color, p. 82; dated circa 1917).
G. Scheiwiller, Amedeo Modigliani, Zürich, 1958 (illustrated, pl. 51; dated 1917).
F. Russoli, Modigliani, Milan, 1963 (detail illustrated in color, pl. VIII; titled Nudo rosso).
Arte italiano contemporaneo desde 1910, exh. cat., Museo de Arte Moderno, Mexico City, 1966, pp. 48 and 108 (titled Desnudo rosa and Nudo rosa).
A. Werner, Amedeo Modigliani, Paris, 1968, p. 132 (illustrated in color, p. 133; titled Nu sur un cousin).
G. Diehl, Modigliani, New York, 1969, p. 92 (illustrated; dated circa 1918).
C. Géza, Modigliani, Budapest, 1969, p. 28, no. 25 (illustrated in color; titled Rózsaszínu akt).
R. van Gindertael, Modigliani e Montparnasse, Milan, 1969, p. 47 (illustrated, pl. XXI).
A. Ceroni and L. Piccioni, I dipinti di Modigliani, Milan, 1970, p. 98, no. 198 (illustrated; illustrated in color, pls. XXXVI-XXXVII; illustrated in situ at the Galerie Bing, 1925, p. 86; dated 1917 and titled Nudo sdraiato, a braccia aperte).
J. Lanthemann, Modigliani: Catalogue raisonné, Barcelona, 1970, p. 118, no. 166 (illustrated p. 204; dated 1916).
F. Cachin and A. Ceroni, Tout l’oeuvre peint de Modigliani, Paris, 1972, p. 98, no. 198 (illustrated; illustrated in color, pls. XXXVI-XXXVII; illustrated in situ at Galerie Bing & Cie., 1925, p. 86; detail illustrated in color on the dust jacket; dated 1917 and titled Nu couché, les bras ouverts).
R. Guttuso, Mestiere di Pittore: Scritti sull'arte e la società, Bari, 1972, p. 175 (titled Nudo).
G.C. Argan, Die Kunst des 20. Jahrhunderts 1880-1940, Berlin, 1977 (illustrated in color, pl. LVIII; titled Liegender weiblicher Akt).
C. Mann, Modigliani, London, 1980, p. 146 (illustrated in color, no. 104; dated 1917).
Modigliani, exh. cat., Musée Saint-Georges, Liège, 1980, p. 38, no. 30 (illustrated; dated 1917 and titled Nu au divan).
B. Zurcher, Modigliani, Paris, 1980, p. 31 (illustrated in color, pl. 64; dated 1917 and titled Nu couché, les bras ouverts).
Dagli ori antichi agli anni Venti: Le collezioni di Riccardo Gualino, exh. cat., Galleria Sabauda, Turin, 1982, p. 28 (illustrated, p. 29; titled Nudo rosso).
Modigliani: 1884-1920, exh. cat., Centre Cultural de la Caixa de Pensions, Barcelona, 1983, p. 53 (illustrated in situ at the Galerie Bing, 1925).
C. Roy, Modigliani, Paris, 1985, p. 158 (illustrated in color, p. 102; dated 1917 and titled Nu couché, les bras ouverts).
T. Castieau-Barrielle, La vie et l'œuvre de Amedeo Modigliani, Paris, 1987, p. 154 (illustrated in color; dated circa 1917 and titled Nu couché, les bras ouverts).
C. Parisot, Modigliani, Livorno, 1988, p. 138 (illustrated in color; dated 1917 and titled Nudo rosso).
A. Ceroni, Amedeo Modigliani: Les nus, Düdingen/Guin, 1989, p. 80, no. 23 (illustrated in color, p. 81; dated 1917 and titled Nu couché, les bras ouverts).
V.B. Mann, ed., Gardens and Ghettos: The Art of Jewish Life in Italy, exh. cat., The Jewish Museum, New York, 1989, p. 180 (titled Nudo rosso (The Red Nude)).
Morandi e Milano, exh. cat., Palazzo Reale, Milan, 1990 (illustrated, fig. 4).
Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, exh. cat., Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1991, p. 221, no. 58 (illustrated in color, p. 46, pl. 6; dated 1917 and titled Akt).
C. Parisot, Modigliani: Catalogue raisonné: Peintures, dessins, aquarelles, Livorno, 1991, vol. II, pp. 318-319, no. 47/1917 (illustrated in color, p. 183; dated 1917, titled Nu couché les bras ouverts and with incorrect provenance).
O. Patani, Amedeo Modigliani: Catalogo generale dipinti, Milan, 1991, p. 216, no. 206 (illustrated in color, pp. 216-217; dated 1917, titled Nudo sdraiato a braccia aperte (Nudo rosso) and with incorrect exhibition history).
M.M. Lamberti, “Lionello Venturi e la pittura a Torino, 1919-1931” in Arte in Piemonte, Turin, 2000, no. XIV, pp. 43-45 and 333 (illustrated in color, pl. 27; dated 1917 and titled Nudo rosso).
F. Fergonzi, ed., The Mattioli Collection: Masterpieces of the Italian Avant-garde, exh. cat., Peggy Guggenheim Collection, Venice, 2003, pp. 36, 38, 52, 60, 75 and 95 (titled Red Nude and dated 1917).
A. Masoero, B. Marconi and F. Matitti, L’officina del mago: L’artista nel suo atelier, exh. cat., Palazzo Cavour, Turin, 2003, no. XIV, p. 152 (illustrated; dated 1917 and titled Nudo rosso).
E. Braun, "The Faces of Modigliani: Identity Politics Under Fascism" in M. Klein, ed., Modigliani: Beyond the Myth, exh. cat., The Jewish Museum, New York, 2004, pp. 32 and 40 (illustrated in color, fig. 7; dated 1917 and titled Nude (Nu couché, les bras ouverts) and Nudo (Red Nude)).
C. Parisot, Amedeo Modigliani: Une vie en image, Paris, 2007, p. 210 (illustrated in color; dated 1917 and titled Nu rouge).
- Léopold Zborowski, Paris.
Jonas Netter, Paris.
Riccardo and Cesarina Gualino, Turin (acquired in Paris, 2 October 1928).
Società Anonima Finanziaria, Zaccaria Pisa, Milan; collection sale, Galleria Pesaro, Milan, 5-8 February 1934, lot 185.
Pietro Feroldi, Brescia (by 1935).
Gianni Mattioli, Milan (acquired from the above, 1949), and thence by descent to the previous owner, 1977.
By descent to the present owners, Switzerland, 1987.
- PROPERTY FROM A DISTINGUISHED EUROPEAN COLLECTION
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This Biedermeier chest is very compact, only 34 in. wide and 19 in. deep; being 34 in. wide, it can easily go alongside a bed, or a couch in a living room, with lamp, etc. Not only is it very decorative in a restrained manner with an arched main drawer, and a decorative upper drawer, it is very useful in that the entire case is made to work for storage with three substantial drawers. The Classic arch incised into the front drawers shows a Classical influence in the subdued but sophisticated ethic of Biedermeier design. The quality of this piece is exceptional. Please note the fine dovetails on all drawers. Also note that each drawer has side strips for tightness, which is an extra nice measure evidencing a fine quality piece. It retains its original locks and key in addition to the two original knobs, which are boldly integrated into the design of the piece. The mahogany is beautifully figured and matched, it is a visual standout and has developed a warm yellow brown tone over the years. Height: 32 in. Width: 34 in. Depth: 19 inLäs mer
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They were kind of a white canvas jacket you wore over a sweater or shirt. That was the time of Snow White and the Seven Dwarfs and the kids would want me to draw on their beer jackets."After high school Jim went on to study at the Art Institute of Pittsburgh Around the time when Jim was enrolled, America was in the boom of consumerism. Advertising was beginning to explode. The Art Institute was graduating students who would help design magazine ads and billboards that would entice buyers throughout the country.While studying in Pittsburgh Jim met his beloved wife, Becky. They would be married for 67 years.In 1942, as was the case of most young men at this time, Jim enlisted in the Navy. He served at the Naval Air Station in Grosse lle Michigan. After three years he was shipped out to Saipan. In Saipan, Jim sent home for paint and brushes. He made frames for canvas and did portraits for $150.00. 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For more information on Cooper Studios visithttp://www.atmanart.org/html/charles_e__cooper_studio.html.When I asked him for details of the interview process he modestly said, "Nothing unusual about the interview. Showed my samples, talked a little. Went back to the other studio and quit." I imagine it wouldn't have been that easy for those with less talent.I asked Jim about his time at Cooper. He recalled, "Each artist had their own room. The salesman would give you a job, you would pick a model, book your time and shoot your pictures."Jim did commercial ads and illustrations while at Cooper Studios. He worked with artists Joe De Mers, Coby Whitmore, Jon Whitcomb and Joe Boeler, among others. He continued working at Cooper for a few years.By this time Jim and Becky had three children, Jim Junior, Karen and Mark. Most of Becky's family was located in the Los Angeles area and they decided to move back west. Jim fondly recalls, "We purchased an old Chrysler Station Wagon, loaded up the three kids with a mattress in the back and set out west. We bought little toys and games for the children to give for each state we crossed. I remember Becky would wash our clothes in the hotel room sink and then hang them out the car window to dry."Upon arriving in California they found a house in the San Fernando Valley and a studio in Beverly Hills. His landlord was none other than actress Janet Gaynor.Jim kept busy doing freelance work, until one day he ran into a former art student who was in motion pictures. He told Jim about his job and intrigued, Jim joined the union. He soon landed a job with Disney Studios. The first movie he worked on at Disney was "Darby O Gill and The Little People" starring Janet Munro and Sean Connery.Jim shares a story with me about meeting Walt Disney. "After working several weeks, my sketches were ready for Disney to approve or disapprove. He walked in the door and after good mornings, the producer said, "We have a new sketch artist." He introduced me and I shook his hand and said, "Nice meeting you Mr. Disney." He looked at me and said, "My name is Walt."Jim spoke of how fun it was walking the empty back lots of the studios. "The Westerns made you feel you were a cowboy, the castles from Camelot made you feel like a knight".While at Disney he did portraits as well. He did a portrait of Haley Mills and Roy Disney Jr.'s three children, among others.When things slowed down at Disney, Jim found work with other studios. With Warner Brothers he worked on Jerry Lewis' "Which Way to the Front" and "Three on a Couch". For Twentieth Century Fox he worked on "Mad Mad World".One day he ran into actress Tippi Hedren from "The Birds" and he asked her if he could do her portrait. He had known her from his time in New York City, she was a model back then.When things picked up, he was back at Disney and began working on "Son of Flubber" and "Mary Poppins". Jim spoke of how his job included doing scene studies. The artwork helped to visualize the sets for the films.One wonderful story he spoke of was for "Mary Poppins", "While working on Mary Poppins I did the chalk drawings on the sidewalk that Dick, Julie and the children jump into. I remember the workman brought each one of those large cement slabs (18"x 30") up to my studio to do in chalks. I was really excited thinking my work would be seen on screen. Lots of fun working in show business." On display at the Golden Horseshoe Saloon at Disneyland in California is one of Jim's paintings. He remembers in great detail his interaction with Walt. "If you go into the Golden Horse Shoe at Disney Land in Anaheim, you will find this painting hung from behind the bar. While working for Disney Studio’s, I was asked to paint this by Walt Disney.The funny story is that one morning I got a call from Walt’s secretary telling me that Walt wanted to see me. The first thing I thought was “oh hell what did I do now?” Approaching Walt’s office his secretary said to me “go right in”. So in I go and he’s sitting there with my painting.Remember, the painting was supposed to be an old style nude from the old West around the 1800’s. He looks at me and smiles and says “Jim, this is a great painting but could you cover the top a little bit” and he points to the bare breasts! I gave a sigh of relief, smiled and said sure and took the picture and walked out and that’s what you see hanging today…that is after I put more clothes on her!"Upon further research, I discovered this painting was used for the movie "Summer Magic" featuring Haley Mills, Dorothy McGuire and Burl Ives.After Disney, Jim worked for Los Angeles Water and Power. There he did slides and training films. He worked for them for 19 years.He also did work for the US Air Force as a member of the Society of Illustrators Club in the fifties. Jim recalls how the Air Force would fly groups of artists to different bases around the world to paint. He was flown to Elgin Air Force Base in Florida. There he remembers receiving first class treatment and painting the workings of the base. In return he gave two paintings to the Air Force. To his knowledge, they are still hanging somewhere in the academy or in storage.He spoke of his interest in Native American Culture and the many little trips he took to Pow Wows in Montana and Window Rock.Jim sold some of his Native American works to Coca Cola and Willard Marriott. One of his pieces hangs in the Navajo Room at the Scottsdale Camel back Marriott.As with most artists, Jim Schaeffing spoke of recognition of his latest works, rather than his past. In his years of painting he has developed superb skills. He has attended workshops with portrait artist Raymond Kinsler. His favorite subjects, most recently, are of water scenes and landscapes.I was amazed at Jim's vitality and sharp wit. In his nineties, he continues to paint every other days his favorite medium is oil, as he finds it easiest to work with and manipulate.When I asked him which artists he admires, he replied, "Howard Terpning, Richard Schmid and Clark Hulings."He lovingly spoke of his wife and how she was his biggest supporter. Becky's family were musicians and her mother gave Jim a few piano lessons. He spoke of how he plays on his little keyboard.He tells me he has always been a pretty private person. He recalls his days while working at the film studios and how he and Becky would do sidewalk shows. He spoke of how he always had a hard time promoting himself. He said "I figure if they want to know something, they'll ask me."When asked what he thought of the visual world now and the internet, he spoke candidly. Jim just recently set up a Face Book page with encouragement from his step grandson Travis. You can check it out at this web address https://www.facebook.com/jim.schaeffing.He mentions how curious he is to see what comments have been made about his paintings. But admits he is not keen on giving his comments on every topic, or spending much time on the computer. Jokingly, Jim says he is amazed at how everyone seems to have an opinion on everything in the Face Book world.Sadly, he spoke of his wife's passing in 2010. They were married 67 years. I believe his extraordinary loving relationship with Becky came through in his artwork. His illustrations of couples have a warmth and intimacy that seem to jump right off the paper and touch the soul.Jim Schaeffing now resides with his daughter and her husband in San Jose, California. It is here that he continues to paint, play piano, and golf. He enjoys spending time with his family. His three children Jim Jr., Mark and Karen. His grandchildren Tiffany, Ashley and Brett. And his great grandchild Evan. He mentions he has another great grandchild on the way. I would like to thank Jim Schaeffing and his family for the help and support they have given me during this process.Rachel Davies Google+ January 25th, 2013Läs mer
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