• Moonlight On The Loire Barbizon landscape
  • Evening in New York, 1890
  • Two Tahitian Women, 1899
  • Portrait of Felix Feneon, 1890
  • The Vines, 1902
  • The Man on the Balcony, 1880
  • Evocation
  • The Buffalo Trail, 1867
  • Conversion, 1912
  • Lane at the Jardin du Luxembourg, 1886
  • Melancholy, 1874
  • Study for The Spanish Dance, 1882
  • Dancers, 2011 - Vezur
  • Goldau, 1843
  • Music-I, 1895
  • Strolling along the Seashore, 1909
  • Autumn Sun I, 1912
  • Portrait of a European Lady in Japanese Costume
  • Autumn, 1877
  • Harvest Time, 1878
  • Stehend Karyatide, 1913
  • Winter at the seaside, 2011 - Vezur
  • Riga in Blue, 2011 - Vezur
  • Spring, 1879
  • Richard Gallo and His Dog, at Petit Gennevilliers, 1884
  • Old Town Charm, 2011 - Vezur
  • Almond Branches in Bloom, San Remy, 1890
  • Poppy field in Giverny, 1885
  • The Sower, 1888
  • Countryside, 2011 - Vezur
  • Seacoast at Kurzeme, 2011 - Vezur
  • Pugacheva Taxi, 2011 - Vezur
  • Spring, 1879
  • Portrait Of Gabrielle Aka Young Girl With Flowers, 1900
  • Vase Of Poppies, 1909
  • Riegert aka Laima Clock, 2011 - Vezur
  • Adam and Eve, 1526
  • Valdemara street, 2011 - Vezur
  • La Sybille, 1891
  • Wanderer above the Sea of Fog, 1818
  • Riga Springtime, 2011 - Vezur
  • Summer Evening, 1886
  • Golden autumn, 2011 - Vezur
  • Dancers in Riga Heart, 2011 - Vezur
  • Adele Bloch Bauer I, 1907
  • View Of Venice Fog, 1881
  • Ballet Scene, 1879
  • Poppy field, 2011 - Vezur
  • Bare Tree behind a Fence, 1912
  • Nude Egyptian Girl, 1891

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.