• Reclining Semi-Nude with Red Hat, 1910
  • Dead Mother, 1910
  • Deauville, The Basin, 1892
  • Yellow Circle, 1926
  • Two Little Girls On The Beach, 1895
  • The Hope II, 1908
  • Garden Study of the Vickers Children, 1884
  • Vase Of Poppies, 1909
  • Forest, 2011 - Vezur
  • Sun Walk Over The Bridge, 2011 - Vezur
  • Cagnes Landscape
  • Haymaking, 2011 - Vezur
  • Riga in begining of 20th century, 2011 - Vezur
  • The Green Dancer, 1880
  • Mother And Child Aka Madonna, 1908
  • Cold Morning, 2011 - Vezur
  • The Fog Warning, 1885
  • Avenue of poplars at sunset, 1884
  • Two Swans, 2011 - Vezur
  • The Veteran in a New Field, 1865
  • Adam and Eve, 1526
  • Water Lilies, 1906
  • Riegert aka Laima Clock, 2011 - Vezur
  • Idyll in Tahiti, 1901
  • The Kiss, 1908
  • Autumn, 1877
  • Woman on a Terrace, 1857
  • The Vision after the Sermon, 1888
  • Lovers: Man and Woman I, 1914
  • Head Of A Woman With A Hat, 1907
  • Study for The Spanish Dance, 1882
  • Fields of Gold, 2011 - Vezur
  • Summer Evening, 1886
  • Richard Gallo and His Dog, at Petit Gennevilliers, 1884
  • Two Tahitian Women, 1899
  • Flowers in a Vase, 1866
  • Cherubini, 1514
  • Kelly Pool, 1903
  • Big Red Buste, 1913
  • Girl with a Pearl Earring, 1666
  • Antibes Seen from the Salis Garden, 1888
  • Foggy Morning, 2011 - Vezur
  • Ballet Scene, 1879
  • Chimney Sweeper, 2011 - Vezur
  • Water Lilies, Green Reflection, Left Part, 1923
  • Wheat Field With Reaper And Sun, 1889
  • Lane at the Jardin du Luxembourg, 1886
  • Portrait of Felix Feneon, 1890
  • Strolling along the Seashore, 1909
  • Winter, 2011 - Vezur

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.