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 pix épurés où se mêlent mélancolie et absence, mais aussi des nus qui créent le scandale. Entre culture et modernité, Modigliani invente un paintings inimitable et reconnaissable entre mille !

Ce livre vous permettra d’en savoir plus sur :
- Le contexte culturel dans lequel Amedeo Modigliani s’inscrit
- los angeles vie de l'artiste et son parcours
- Les caractéristiques et spécificités de son art
- Une sélection d’œuvres-clés de Modigliani
- Son impression 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 variety si particulier de l'artiste, l'auteure nous fait pénétrer dans les méandres d'un paintings precise 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 l. a. 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 l. a. 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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Additional resources for Amedeo Modigliani, l'art du portrait et du nu: Entre tradition et avant-garde (Artistes, numéro 38)

Example text

Is only ‘traditional’ when viewed from a latter-day perspective. (Alfred Gell, Art and Agency: An Anthropological Theory, 1998) Anachronic Titian Titian may have sought to move beyond his predecessors, but he also constructed them as predecessors as he did so, and to this extent he defined the identity of the tradition that he moved beyond. Earlier works by the Bellini family and their followers appear as more conventional in the light of Titian’s own departures from them. 1 From our still later perspective the young Titian’s innovative paintings veil those of his master, becoming the medium through which we interpret them.

Ing (illus. 80 The appraising woman on the bed, who may or may not be Venus, behaves as if in response to a living individual (in this case surely a man) in front of her, acknowledging his gaze, the still ambiguous movement of her hand over her pubic region a reaction to his presence. 81 The conception of Venus in connection with an excited masculine viewer was, in fact, made explicit in one of Giorgione’s original sources for his painting: a woodcut in Francesco Colonna’s Hypnerotomachia Poliphili (1499) in which she is approached in her grotto by an aroused satyr (illus.

Titian’s ‘keyhole’ or localized spatial recessions in these works, achieved through broad tonal contrasts and the suppression of the mid-ground, serve primarily to provide contrasts of scale that increase the monumentality of the foreground figures. When Titian returned to Bellini’s 49 titian Feast of the Gods, his ‘correction’ was, tellingly, made along these lines: he replaced his master’s flattening screen of trees with a dramatic view to a far-distant mountain. Titian’s newly confident and persistent emphasis on the cupids’ naked flesh also serves to mark the contrast with Bellini’s initial painting, even if the elder master had himself attempted to ‘improve’ his painting in this respect.

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