拍品专文
Ces portraits reflètent la relation passionnelle, excessive, tragique (Jeanne Hébuterne se suicide, enceinte de leur deuxième enfant, le surlendemain du décès de Modigliani emporté par une méningite tuberculeuse en 1920) mais aussi profondément artistique, qui lia les deux amants Amedeo Modigliani et Jeanne Hébuterne entre 1917 et 1920. En effet, ces deux artistes, vécurent une relation réciproque où Modigliani, dont le style artistique était déjà mature portait une profonde admiration à sa jeune compagne, (dont l'allure semblable à celle d'un cygne, ne manqua pas de l'inspirer); et où l'art de celle-ci, ne cessa d'évoluer au contact de l'intense artiste qu'était Modigliani.
These portraits reflect the relationship between Amedeo Modigliani and Jeanne Hébuterne between 1917 and 1920 - a relationship which was passionate, excessive and tragic (Jeanne Hébuterne committed suicide, pregnant with their second child, two days after the death of Modigliani from tubercular meningitis in 1920), but also profoundly artistic. The two artists had a reciprocal relationship. Modigliani, whose artistic style was already mature, bore a deep admiration for his young companion (whose swan-like appearance was a significant inspiration to him) and Hébuterne's art meanwhile constantly evolved under the influence of Modigliani's intensity.
These portraits reflect the relationship between Amedeo Modigliani and Jeanne Hébuterne between 1917 and 1920 - a relationship which was passionate, excessive and tragic (Jeanne Hébuterne committed suicide, pregnant with their second child, two days after the death of Modigliani from tubercular meningitis in 1920), but also profoundly artistic. The two artists had a reciprocal relationship. Modigliani, whose artistic style was already mature, bore a deep admiration for his young companion (whose swan-like appearance was a significant inspiration to him) and Hébuterne's art meanwhile constantly evolved under the influence of Modigliani's intensity.