• Buckwheat Harvesters at Pont-Aven, 1888
  • Marine bleue, 1893
  • Riga in Blue, 2011 - Vezur
  • Richard Gallo and His Dog, at Petit Gennevilliers, 1884
  • Strolling along the Seashore, 1909
  • Poppies, 1886
  • Avenue of poplars at sunset, 1884
  • The Banks of the River at Veneux, 1881
  • Golden autumn, 2011 - Vezur
  • Walk Along The Sea, 2011 - Vezur
  • Conversion, 1912
  • Cold Morning, 2011 - Vezur
  • Horses, 2011 - Vezur
  • Water Lilies, Green Reflection, Left Part, 1923
  • Study of a Figure Outdoors (Facing Right), 1886
  • Moonlight On The Loire Barbizon landscape
  • Antibes Seen from the Salis Garden, 1888
  • Seacoast at Engure, 2011 - Vezur
  • Ligo Evening, 2011 - Vezur
  • Dancers in Riga Heart, 2011 - Vezur
  • Harvest Time, 1878
  • Jurmala (Sea Pearl), 2011 - Vezur
  • Lady with fan, 1918
  • Poppy field in Giverny, 1885
  • Adam and Eve, 1526
  • Passion for Dance, 2011 - Vezur
  • Madame Pompador, 1915
  • Breton Landscape - Fields by the Sea (Le Pouldu), 1894
  • Breath of the Earth, 2011 - Vezur
  • The Sleeping Gypsy, 1897
  • Daisy fields, 2011 - Vezur
  • Portraits at the Stock Exchange, 1879
  • Winter, 2011 - Vezur
  • Girls, 2011 - Vezur
  • Moonrise over the Sea, 1822
  • Portrait of a European Lady in Japanese Costume
  • River bank, 2011 - Vezur
  • Lying act, 1917
  • The Druidess, 1893
  • Four Trees, 1917
  • Lady with hat and feather boa, 1909
  • Dead Mother, 1910
  • Music-I, 1895
  • Seacoast at Kurzeme, 2011 - Vezur
  • Flying people, 2011 - Vezur
  • Valdemara street, 2011 - Vezur
  • Buddah In His Youth, 1904
  • Forest, 2011 - Vezur
  • Café Terrace at Night, 1888
  • Wanderer above the Sea of Fog, 1818

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.