• Big Red Buste, 1913
  • Idyll in Tahiti, 1901
  • House of Blackheads, 2011 - Vezur
  • Embrace aka Lovers II, 1917
  • Marine bleue, 1893
  • Evening in New York, 1890
  • Manao Tupapau (Spirit of the Dead Watching), 1892
  • Recumbent Nude, 1917
  • Cherubini, 1514
  • Cold Morning, 2011 - Vezur
  • Head Of A Woman With A Hat, 1907
  • Anemones, 1909
  • Portrait of a European Lady in Japanese Costume
  • Dandelions, Ventas Rumba, 2011 - Vezur
  • Blue Dancers, 1899
  • Boat in the Moonlight
  • The Starry Night, 1889
  • Study of a Figure Outdoors (Facing Right), 1886
  • Girl with a Pearl Earring, 1666
  • Bridge of Europe, 1877
  • Mother And Child Aka Madonna, 1908
  • Riga at sunset, 2011 - Vezur
  • Evocation
  • Winter, 2011 - Vezur
  • Passion for Dance, 2011 - Vezur
  • The Vision after the Sermon, 1888
  • Sea coast, 2011 - Vezur
  • Café Terrace at Night, 1888
  • Riegert aka Laima Clock, 2011 - Vezur
  • Portrait of Josette, 1916
  • Dead Mother, 1910
  • River bank, 2011 - Vezur
  • Tram No 10, 2011 - Vezur
  • Kelly Pool, 1903
  • Self Portrait With Spread Fingers, 1909
  • Cagnes Landscape
  • Portrait of Felix Feneon, 1890
  • Goldau, 1843
  • Old Riga view, 2011 - Vezur
  • Adele Bloch Bauer I, 1907
  • La Sybille, 1891
  • Valdemara street, 2011 - Vezur
  • Ligo Evening, 2011 - Vezur
  • Countryside, 2011 - Vezur
  • The Woman Friends, 1917
  • Caricature Self Portrait, 1889
  • A Carnival Evening, 1886
  • Lady of the Flowers, 1895
  • Nude Egyptian Girl, 1891
  • Water Lilies, Green Reflection, Left Part, 1923

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.