“People like us . . . have varied rights, diverse values than do traditional humans simply because now we have various wishes which placed us . . . above their ethical standards.” —Modigliani
Amedeo (“Beloved of God”) Modigliani used to be thought of to be the imperative bohemian artist, his legend nearly as notorious as Van Gogh’s. In Modigliani’s time, his paintings used to be noticeable as an oddity: modern with the Cubists yet no longer a part of their circulate. His paintings used to be a hyperlink among such portraitists as Whistler, Sargent, and Toulouse-Lautrec and that of the paintings Deco painters of the Nineteen Twenties in addition to the recent techniques of Gauguin, Cézanne, and Picasso.
Jean Cocteau referred to as Modigliani “our aristocrat” and stated, “There used to be whatever like a curse in this very noble boy. He used to be appealing. Alcohol and misfortune took their toll on him.”
In this significant new biography, Meryle Secrest, one among our such a lot renowned biographers—whose paintings has been known as “enthralling” (The Wall road Journal); “rich intimately, scrupulously researched, and sympathetically written” (The manhattan assessment of Books) —now offers us a completely learned portrait of 1 of the 20 th century’s grasp painters and sculptors: his upbringing, a Sephardic Jew from an impoverished yet genteel Italian kin; his going to Paris to make his fortune; his awesome attractiveness (“How appealing he was once, my god how beautiful,” stated one in every of his versions) . . . his education as an artist . . .and his impacts, together with the Italian Renaissance, relatively the paintings of Botticelli; Nietzsche’s theories of the artist as Übermensch, divinely endowed, divinely encouraged; the monochromatic backgrounds of Van Gogh and Cézanne; the paintings of the Romanian sculptor Brancusi; and the primitive sculptures of Africa and Oceania with their simplified, masklike triangular faces, elongated silhouettes, puckered lips, low foreheads, and heads on exaggeratedly lengthy necks.
We see the ways that Modigliani’s long-kept-secret disease from tuberculosis (it virtually killed him as a tender guy) affected his paintings and his angle towards existence ; how intake prompted him to include fatalism and idealism, creativity and dying; and the way he used alcohol and opium with laudanum as an antispasmodic to conceal the indicators of the illness and the way, as a result of it, he got here to be noticeable as a dissolute alcoholic.
And all through, we see the Paris that Modigliani lived in, a urban in dynamic flux the place artwork was once nonetheless a noble reason; how Modigliani turned a part of a existence within the streets and a global of paintings and artists then in a remodeling revolution; Monet, Cézanne, Degas, Renoir, et al.—and others extra radical—Matisse, Derain, etc., all dwelling inside of blocks of 1 another.
Secrest’s booklet, written with remarkable entry to letters, diaries, and pictures by no means earlier than obvious, is a rare revelation of a existence lived in artwork . . . this is Modigliani, the fellow and the artist, likely shy, tender, a guy on a determined project, masquerading as an alcoholic, dishonest dying repeatedly, and calculating what he needed to do so that it will move on operating and concealing his mystery for notwithstanding a lot time remained . . .
From the Hardcover edition.