• Goldau, 1843
  • Midsummer Festival, 2011 - Vezur
  • Marine bleue, 1893
  • Le Pêcheur (The Fisherman), 1909
  • Old Town Back In 30's, 2011 - Vezur
  • Lady of the Flowers, 1895
  • Manao Tupapau (Spirit of the Dead Watching), 1892
  • Breath of the Earth, 2011 - Vezur
  • Big Red Buste, 1913
  • Pugacheva Taxi, 2011 - Vezur
  • Evening on Volga, 1888
  • Spring, 1879
  • The Haymaker, 1886
  • Portrait Of The Painter Max Oppenheimer, 1910
  • The Football Players, 1908
  • Music-I, 1895
  • Autumn, 1877
  • Portrait of Josette, 1916
  • Seacoast at Kurzeme, 2011 - Vezur
  • Caricature Self Portrait, 1889
  • Self Portrait With Spread Fingers, 1909
  • Poppies, 1886
  • Riga in begining of 20th century, 2011 - Vezur
  • Nude Egyptian Girl, 1891
  • Sun Walk Over The Bridge, 2011 - Vezur
  • Russian Belle and Landscape, 1904
  • The Boat, 2011 - Vezur
  • Harvest Time, 1878
  • Sea coast, 2011 - Vezur
  • Flowers in a Vase, 1866
  • Ophelia, 1905
  • Contrasting Sounds, 1924
  • Forest, 2011 - Vezur
  • Morning in a Pine Forest, 1889
  • Lovers: Man and Woman I, 1914
  • Moonlight On The Loire Barbizon landscape
  • Landscape at Saint-Rémy, 1889
  • Riga at sunset, 2011 - Vezur
  • Woman on a Terrace, 1857
  • The Bather, 1879
  • Walk Along The Sea, 2011 - Vezur
  • Portrait of Ida Rubenstein, 1910
  • Ballet Scene, 1879
  • Buckwheat Harvesters at Pont-Aven, 1888
  • Portrait of a Man, 1923
  • Girl with a Pearl Earring, 1666
  • The Man on the Balcony, 1880
  • The Fog Warning, 1885
  • River bank, 2011 - Vezur
  • Richard Gallo and His Dog, at Petit Gennevilliers, 1884

Stehend Karyatide, 1913

Stehend Karyatide, 1913

Amedeo Modigliani

Although this work is painted in oil on canvas, it conveys a strong impression of sculpted stone. This painting primarily depicts form; the volumes that make up the caryatid’s figure are geometric and articulated. ‘Caryatid’ comes from the Greek karyatides, the priestesses of Artemis at Caryae, and it means a sculpted female figure built to support entablature. This caryatid is certainly sculptural, but she is also fundamentally paradoxical. Her forearms, perpendicular to her biceps and mirroring the vertical axis of her body, support nothing. Modigliani’s primary interest seems to be her figure and the shapes that form it. Her pose is merely an attitude and the rhythm of her body is interrupted. Each form is separated from its neighbour. The caryatids show Modigliani at his most fully abstracted and formalist.

The painting will be delivered unstreched, rolled in protective & presentable case.