• Cold Morning, 2011 - Vezur
  • Madame Camus with a Fan, 1870
  • Riga in Blue, 2011 - Vezur
  • The Rape of Europa, 1910
  • Woman on a Terrace, 1857
  • Breath of the Earth, 2011 - Vezur
  • Blue cow, 2011 - Vezur
  • Mona Lisa, 1507
  • Moonlight, 1874
  • Stehend Karyatide, 1913
  • Landscape at Saint-Rémy, 1889
  • Four Trees, 1917
  • Golden autumn, 2011 - Vezur
  • Portrait Of The Painter Max Oppenheimer, 1910
  • Buddah In His Youth, 1904
  • The Man on the Balcony, 1880
  • Jurmala (Sea Pearl), 2011 - Vezur
  • Le Pêcheur (The Fisherman), 1909
  • Rosina, 1878
  • Gloomy Situation, 1933
  • Portrait of Felix Feneon, 1890
  • Antibes Seen from the Salis Garden, 1888
  • Dead Mother, 1910
  • Spring, 1879
  • Midsummer Festival, 2011 - Vezur
  • Evening in New York, 1890
  • Old Town Back In 30's, 2011 - Vezur
  • Sea coast, 2011 - Vezur
  • Music-I, 1895
  • Riga Springtime, 2011 - Vezur
  • The Black Cat, 2011 - Vezur
  • Harvest Time, 1878
  • Bare Tree behind a Fence, 1912
  • San Giorgio Maggiore at Dusk, 1908
  • The Large Bathers, 1906
  • Evening on Volga, 1888
  • Young Man at His Window, 1875
  • Poppy field in Giverny, 1885
  • Self Portrait with Hands on Chest, 1910
  • The Starry Night, 1889
  • Tram No 10, 2011 - Vezur
  • Spring, 1879
  • Standing Girl in a Plaid Garment, 1909
  • The Woman Friends, 1917
  • Nude Egyptian Girl, 1891
  • Ballet Scene, 1879
  • Opera House, 2011 - Vezur
  • Fields of Gold, 2011 - Vezur
  • Cagnes Landscape
  • Café Terrace at Night, 1888

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.