• Le Pêcheur (The Fisherman), 1909
  • Winter at the seaside, 2011 - Vezur
  • Spring, 1879
  • Dancers V, 1877
  • The Kiss, 1908
  • Two Swans, 2011 - Vezur
  • Self Portrait With Spread Fingers, 1909
  • Opera House, 2011 - Vezur
  • Sea coast, 2011 - Vezur
  • Water Lilies, Green Reflection, Left Part, 1923
  • Dandelions, Ventas Rumba, 2011 - Vezur
  • A Gust of Wind, 1883
  • Independence Day, 2011 - Vezur
  • Water Lilies, 1906
  • Portrait of a Man, 1923
  • Golden autumn, 2011 - Vezur
  • Moonlight, 1874
  • Poppy field, 2011 - Vezur
  • Taking the Count, 1896
  • Morning in a Pine Forest, 1889
  • Interior, Woman at the Window, 1880
  • Four Bathers, 1905
  • The Midday Nap, 1894
  • Flying people, 2011 - Vezur
  • Manao Tupapau (Spirit of the Dead Watching), 1892
  • Old Riga view, 2011 - Vezur
  • Stehend Karyatide, 1913
  • Ligo Evening, 2011 - Vezur
  • Two Tahitian Women, 1899
  • Autumn Sun I, 1912
  • Portraits at the Stock Exchange, 1879
  • Woman on a Terrace, 1857
  • Fields of Gold, 2011 - Vezur
  • Almond Branches in Bloom, San Remy, 1890
  • Columbus Avenue, Rainy Day, 1885
  • Recumbent Nude, 1917
  • Forest, 2011 - Vezur
  • The Sleeping Gypsy, 1897
  • The Vines, 1902
  • Horses, 2011 - Vezur
  • Man with a Pipe (aka The Man from Nice), 1918
  • Old Town Charm, 2011 - Vezur
  • Flower Clouds, 1903
  • When The Grass Was Greener, 2011 - Vezur
  • Portrait Of Gabrielle Aka Young Girl With Flowers, 1900
  • House of Blackheads, 2011 - Vezur
  • Blue Dancers, 1899
  • Self Portrait with Hands on Chest, 1910
  • Melancholy, 1874
  • Agony, 1912

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.