Private Collection 10.5"x 7.75" Attrib. with certificate. Amedeo Clemente Modigliani was an Italian Jewish painter and sculptor who worked mainly in France. He is known for portraits and nudes in a modern style characterized by elongation of faces, necks, and figures that were not received well during his lifetime but later found acceptance. Modigliani spent his youth in Italy, where he studied the art of antiquity and the Renaissance. In 1906 he moved to Paris, where he came into contact with such artists as Pablo Picasso and Constantin Brâncuși. By 1912 Modigliani was exhibiting highly stylized sculptures with Cubists of the Section d'Or group at the Salon d'Automne. Attributed to Amedeo Modigliani, Modigliani's mother, Eugénie Garsin, born and raised in Marseille, was descended from an intellectual, scholarly family of Sephardic ancestry that for generations had lived along the Mediterranean coastline. Fluent in many languages, her ancestors were authorities on sacred Jewish texts and had founded a school of Talmudic studies. Family legend traced the family lineage to the 17th-century Dutch philosopher Baruch Spinoza. The family business was a credit agency with branches in Livorno, Marseille, Tunis, and London, though their fortunes ebbed and flowed. Modigliani's father, Flaminio, was a member of an Italian Jewish family of successful businessmen and entrepreneurs. While not as culturally sophisticated as the Garsins, they knew how to invest in and develop thriving business endeavors. When the Garsin and Modigliani families announced the engagement of their children, Flaminio was a wealthy young mining engineer. He managed the mine in Sardinia and also managed the almost 30,000 acres (12,141 ha) of timberland the family owned. In 1906, Modigliani moved to Paris, then the focal point of the avant-garde. In fact, his arrival at the centre of artistic experimentation coincided with the arrival of two other foreigners who were also to leave their marks upon the art world: Gino Severini and Juan Gris. Modigliani squatted in the Bateau-Lavoir, a commune for penniless artists in Montmartre, renting himself a studio in Rue Caulaincourt. Even though this artists' quarter of Montmartre was characterized by generalized poverty, Modigliani himself presented—initially, at least—as one would expect the son of a family trying to maintain the appearances of its lost financial standing to present: his wardrobe was dapper without ostentation, and the studio he rented was appointed in a style appropriate to someone with a finely attuned taste in plush drapery and Renaissance reproductions. He soon made efforts to assume the guise of the bohemian artist, but, even in his brown corduroys, scarlet scarf and large black hat, he continued to appear as if he were slumming it, having fallen upon harder times.

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