Modigliani: Portrait of Lunia Czechowska (1919)
I.
Almost 400 years after Parmigianino painted his Madonna with the Long Neck, another Italian artist was allowing cervical partialism to determine his subject matter and style.
But whereas the former lengthened the neck of the Virgin because he was interested in exploring the possibilities of Mannerism, I suspect Modigliani's obsessive desire to erotically display and elongate the necks of his models in one canvas after another was rooted more in fetishism.
Not that there's anything wrong with that ...
In fact, I can well understand the arousal derived from a lovely female neck; so elegant, so shapely, so vulnerable. This highly sensitive area of the body has what might be termed a special kind of nakedness and it's not just vampires tempted to bite them, nor only perverts who love to lace them with pearls.
II.
Like Parmigianino, Modigliani lived fast and died young. But the handsome Jewish bad boy of early-twentieth century art has left behind him a body of work (and a legend) that has captured huge public interest and affection (critical acclaim being somewhat more restrained and qualified). His star may not quite have risen to the heights of Van Gogh, but, nevertheless, a Modigliani nude sold at Sotheby's in New York earlier this month for $157 million and you can buy a lot of pasta for that!
Although remembered primarily as a painter, Modigliani really wanted to be a sculptor. But mostly, from the time he arrived in Paris in 1906, he wanted to lead as debauched a life as possible. For Modigliani, creativity was born of chaos and fuelled by sex, drugs and alcohol. Unfortunately, in his case, these things only led to ruin (although it should be noted his premature death at 35 was due to tubercular meningitis rather than a bohemian lifestyle).
III.
The following remark, made by the American art critic and poet Peter Schjeldahl, pretty much sums up my own position vis-à-vis Modigliani and his work:
"I recall my thrilled first exposure, as a teenager, to one of his long-necked women, with their piquantly tipped heads and mask-like faces. The rakish stylization and the succulent color were easy to enjoy, and the payoff was sanguinely erotic in a way that endorsed my personal wishes to be bold and tender and noble [...] In that moment, I used up Modigliani's value for my life. But in museums ever since I have been happy to salute his pictures with residually grateful, quick looks."
Although remembered primarily as a painter, Modigliani really wanted to be a sculptor. But mostly, from the time he arrived in Paris in 1906, he wanted to lead as debauched a life as possible. For Modigliani, creativity was born of chaos and fuelled by sex, drugs and alcohol. Unfortunately, in his case, these things only led to ruin (although it should be noted his premature death at 35 was due to tubercular meningitis rather than a bohemian lifestyle).
III.
The following remark, made by the American art critic and poet Peter Schjeldahl, pretty much sums up my own position vis-à-vis Modigliani and his work:
"I recall my thrilled first exposure, as a teenager, to one of his long-necked women, with their piquantly tipped heads and mask-like faces. The rakish stylization and the succulent color were easy to enjoy, and the payoff was sanguinely erotic in a way that endorsed my personal wishes to be bold and tender and noble [...] In that moment, I used up Modigliani's value for my life. But in museums ever since I have been happy to salute his pictures with residually grateful, quick looks."
See: Peter Schjeldahl, 'Long Faces: Loving Modigliani', a review of Modigliani: A Life, by Meryle Secrest (Alfred A. Knopf, 2011), in The New Yorker (March 7, 2011): click here to read online.
To read the sister post to this one on Parmigianino and his Madonna with the Long Neck, click here.
To read the sister post to this one on Parmigianino and his Madonna with the Long Neck, click here.
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