• Four Trees, 1917
  • Breton Landscape - Fields by the Sea (Le Pouldu), 1894
  • Cagnes Landscape
  • Moonrise over the Sea, 1822
  • Tram No 10, 2011 - Vezur
  • The Vines, 1902
  • The Rape of Europa, 1910
  • Seacoast at Engure, 2011 - Vezur
  • Three Sisters at The Three Brothers, 2011 - Vezur
  • Cherubini, 1514
  • Russian Belle and Landscape, 1904
  • The Man on the Balcony, 1880
  • Woman with a Parasol and Small Child on a Sunlit Hillside,1874
  • Caricature Self Portrait, 1889
  • Almond Branches in Bloom, San Remy, 1890
  • Embrace aka Lovers II, 1917
  • Yellow Circle, 1926
  • Breath of the Earth, 2011 - Vezur
  • San Giorgio Maggiore at Dusk, 1908
  • Madame Camus with a Fan, 1870
  • The Starry Night, 1889
  • Portrait Of The Painter Max Oppenheimer, 1910
  • Marine bleue, 1893
  • Negress, 1869
  • Cold Morning, 2011 - Vezur
  • Ballet Scene, 1879
  • Dandelions, Ventas Rumba, 2011 - Vezur
  • The Large Bathers, 1906
  • The Woman Friends, 1917
  • The Green Dancer, 1880
  • Golden autumn, 2011 - Vezur
  • The Banks of the River at Veneux, 1881
  • Study of a Head, 1913
  • The Veteran in a New Field, 1865
  • Daisy fields, 2011 - Vezur
  • A Friend in Need 2, 1903
  • Entrance to harbor, Moonlight, 1881
  • The Sky, 2011 - Vezur
  • A Gust of Wind, 1883
  • Dome Square, 2011 - Vezur
  • Lovers: Man and Woman I, 1914
  • Forest, 2011 - Vezur
  • Girls, 2011 - Vezur
  • River Daugava, 2011 - Vezur
  • Woman with Black Hat, 1909
  • Dancers in Blue, 1890
  • The Black Cat, 2011 - Vezur
  • Le Pêcheur (The Fisherman), 1909
  • Harlequin, 1890
  • The Star, 1878

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.