• Madame Camus with a Fan, 1870
  • Self Portrait With Spread Fingers, 1909
  • Jurmala (Sea Pearl), 2011 - Vezur
  • Le Pêcheur (The Fisherman), 1909
  • Man with a Pipe (aka The Man from Nice), 1918
  • Old Riga, 2011 - Vezur
  • Standing Girl in a Plaid Garment, 1909
  • The Hope II, 1908
  • Madame Pompador, 1915
  • Self Portrait with Arm Twisting above Head, 1910
  • Anemones, 1909
  • Riga Springtime, 2011 - Vezur
  • Study for The Spanish Dance, 1882
  • The Football Players, 1908
  • Independence Day, 2011 - Vezur
  • Antibes Seen from the Salis Garden, 1888
  • Summer Evening, 1886
  • Conversion, 1912
  • Wheat Field With Reaper And Sun, 1889
  • The Star, 1878
  • Passion for Dance, 2011 - Vezur
  • Head Of A Woman With A Hat, 1907
  • Seacoast at Engure, 2011 - Vezur
  • Nabis Landscape, 1890
  • River bank, 2011 - Vezur
  • Contrasting Sounds, 1924
  • Buckwheat Harvesters at Pont-Aven, 1888
  • The Green Dancer, 1880
  • Entrance to harbor, Moonlight, 1881
  • Reclining Semi-Nude with Red Hat, 1910
  • Almond Branches in Bloom, San Remy, 1890
  • Four Bathers, 1905
  • Lying act, 1917
  • The Fog Warning, 1885
  • La Sybille, 1891
  • Ligo Evening, 2011 - Vezur
  • Opera House, 2011 - Vezur
  • Dancers, 2011 - Vezur
  • Sea coast, 2011 - Vezur
  • Girls, 2011 - Vezur
  • Music-I, 1895
  • Dandelions, Ventas Rumba, 2011 - Vezur
  • Nude Egyptian Girl, 1891
  • The Sky, 2011 - Vezur
  • Evening on Volga, 1888
  • Flying people, 2011 - Vezur
  • Daisy fields, 2011 - Vezur
  • Yellow Circle, 1926
  • Cold Morning, 2011 - Vezur
  • The Starry Night, 1889

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.