Modigliani Caryatid

Modigliani Caryatid
Modigliani Caryatid
Anonim

The Italian artist Amedeo Modigliani has gone down in art history as a painter, and for being one of the most personal and cursed creators of the early 20th century. However, throughout his short life he also made numerous sculptures and one of them is this figure of aCaryatidheld at theMuseum of Modern Art (MoMA) New York.

Modigliani caryatid

Modigliani Caryatid

Actually the image of the Caryatids, whose highest expression is found in the Greek temple of the Erechtheion built around the 5th century BC, greatly attracted Modigliani. And on this type of female figures converted into architectural elements he made up to sixty drawings and several paintings. Interestingly, in some of these images, the artist includes some candles around the head of the caryatid, as if it were a crown. And in fact, to illuminate his sculptures he also used the flames of wax candles.

In this work made of sandstone during the year 1914, the author presents us with a woman holding a flat surface that is supposed to be a roof, for which she rests on one of her knees, and flexes her body towards the other. She is a fairly robust woman. Something that contrasts with the type of quite thin women that usually appear in her paintings, as is the case of Nude with a necklace or theportrait of Madame Pompadour.

An interesting detail is that Modigliani concluded the work before polishing all its parts, leaving visible traces of his work with the chisel and hammer, causing a contrast of textures between the carved and the unfinished, which evidently refers immediately to what is considered the greatest architect of all time, Miguel Ángel, who did the same, of intentionally and for the first time in his famous Slaves exhibited at the Louvre.

On the other hand, despite being inspired by the classical caryatids that fulfilled a decorative but also an architectural function, in Modigliani's work the latter function disappears completely. He conceives it as something expressive and gestural. He treats the figure as the incarnation of man or woman, as a being who carries his weight, his problems

In short, his work as Modigliani's sculptor, in addition to serving as reflection, inspiration and experimentation for his paintings, has an entity in itself. And in this case it is one of the few works in which he carved a full-length figure, since as a general rule he only carved busts and faces.

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