• Head Of A Woman With A Hat, 1907
  • Moonlight, 1874
  • Evocation
  • The Last Supper, 1498
  • The Sky, 2011 - Vezur
  • Idyll in Tahiti, 1901
  • Lying act, 1917
  • Young Man at His Window, 1875
  • Evening in New York, 1890
  • The Second Youth, 2011 - Vezur
  • Three Sisters at The Three Brothers, 2011 - Vezur
  • Old Riga, 2011 - Vezur
  • Moonlight On The Loire Barbizon landscape
  • Music-I, 1895
  • Negress, 1869
  • Study of a Figure Outdoors (Facing Right), 1886
  • Nabis Landscape, 1890
  • Flowers in a Vase, 1866
  • Goldau, 1843
  • Portrait of a European Lady in Japanese Costume
  • Reclining Semi-Nude with Red Hat, 1910
  • Sun Walk Over The Bridge, 2011 - Vezur
  • Winter at the seaside, 2011 - Vezur
  • Café Terrace at Night, 1888
  • Dead Mother, 1910
  • The End of Summer, 2011 -  Vezur
  • Portrait of Ida Rubenstein, 1910
  • A Gust of Wind, 1883
  • When The Grass Was Greener, 2011 - Vezur
  • Embrace aka Lovers II, 1917
  • Jurmala (Sea Pearl), 2011 - Vezur
  • Seacoast at Engure, 2011 - Vezur
  • Passion for Dance, 2011 - Vezur
  • San Giorgio Maggiore at Dusk, 1908
  • Dancers in Riga Heart, 2011 - Vezur
  • Recumbent Nude, 1917
  • The Red Vineyard, 1888
  • Two Swans, 2011 - Vezur
  • Garden Study of the Vickers Children, 1884
  • River Daugava, 2011 - Vezur
  • The Sower, 1888
  • Evening on Volga, 1888
  • Woman on a Terrace, 1857
  • Fields of Gold, 2011 - Vezur
  • Dancers V, 1877
  • The Hope II, 1908
  • Spanish Dancer, 1882
  • The Star, 1878
  • Bare Tree behind a Fence, 1912
  • Rosina, 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.