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Lot Essay
Attracted by the electric atmosphere of Paris in the early Twentieth century, Amedeo Modigliani was a proud member of the bohème community. He first devoted himself to sculpture and shared an interest for African and Khmer art with his respected peers, Constantin Brancusi and Pablo Picasso. Making his way through uncharted territory, he started to draw his series of caryatids, most likely in preparation of his sculptures. Nevertheless, we can feel the artist indulging his imagination in these drawings to the point that they become more than a mere project draft. Indeed, this drawing of a bust slightly distances itself from the elongated and imposing faces chiselled by Modigliani. Despite the display of a typical mask-like figure, the character also shows organic elements, as if Modigliani could not help attributing flesh, arms and bosom to his caryatid. The spontaneity of Modigliani’s works on paper allows the viewer to enter the utmost intimate thoughts of the artist. Originally inspired by the rigidity of architectural ornaments, the present lot reveals an almost Pygmalion reverie, filled with the open sensuality Modigliani was renowned for.
Besides his talent, Modigliani’s reputation for controversy might have been a reason why André Level was captivated by this caryatid. In his memoirs, the influential art collector recalled how he met the artist in a café in Montparnasse sometime in the autumn of 1914, and bought his drawings at once. Level, initiator of the artist’s resale right and speculative associations of buyers with his ‘La Peau de l’Ours’ venture, had a trained eye for investments and taste for subversive art. Naturally, Level befriended ‘Modi’ and was an important patron to the artist, as his personal sale at Hôtel Drouot on 3 March 1927 demonstrates. From Paris, Buste de cariatide crossed the Atlantic, through important dealers including Bernheim-Jeune and Knoedler, to sit in the personal collection of Jere Abbott, the first associate director of the Museum of Modern Art in New York. It seems that through his career as an art history professor, Abbott kept this drawing of the caryatid for himself, whereas other pieces from his collection were used for didactic purposes. With its almond shaped eyes, voluptuous pose and sculptural yet subtle sensuality, the present drawing gathers all the elements of Modigliani’s signature style.
Besides his talent, Modigliani’s reputation for controversy might have been a reason why André Level was captivated by this caryatid. In his memoirs, the influential art collector recalled how he met the artist in a café in Montparnasse sometime in the autumn of 1914, and bought his drawings at once. Level, initiator of the artist’s resale right and speculative associations of buyers with his ‘La Peau de l’Ours’ venture, had a trained eye for investments and taste for subversive art. Naturally, Level befriended ‘Modi’ and was an important patron to the artist, as his personal sale at Hôtel Drouot on 3 March 1927 demonstrates. From Paris, Buste de cariatide crossed the Atlantic, through important dealers including Bernheim-Jeune and Knoedler, to sit in the personal collection of Jere Abbott, the first associate director of the Museum of Modern Art in New York. It seems that through his career as an art history professor, Abbott kept this drawing of the caryatid for himself, whereas other pieces from his collection were used for didactic purposes. With its almond shaped eyes, voluptuous pose and sculptural yet subtle sensuality, the present drawing gathers all the elements of Modigliani’s signature style.