Description of the artwork «Portrait Of Jeanne Hebuterne»
Amedeo Modigliani for three years, lived with Jeanne hébuterne, has written more than twenty portraits of her. His last love, sharing with artist of great adversity and modest success, very devoted to that love and tragically ended his young life, was not particularly spoiled favorite.
Eyewitnesses say that the attitude Modigliani to Jeanne differed from relations with women in General (in short: they loved him, he did not stand on ceremony - for example, one of his passions Modigliani, tell, once, kicked in the window). But battered and Jeanne: Modigliani regularly been drunk, often rude, and say to the faithful. And Jeanne? Jeanne just loved it. And he called his paintings "declarations of love on the canvas". If we consider them so, love Modigliani survived them both.
The main Muse of Amedeo Modigliani – Beatrice Hastings and Jeanne hebuterne. With them he had the longest relationship both of them he wrote quite a lot. Beatrice all canvases looks powerful, strong-willed (this is she was in life), In her images we find an intimate mood, tenderness. It was the connection-the war of communication-struggle in which each strove to strike first. In the end, she just ran away from her lover. Other business – portraits of Joan, loving him unconditionally, who bore him a daughter, and committed suicide the day after Modigliani's death. Joan at the time was on the ninth month of pregnancy...
In this portrait Janna is elongated – this is a feature of Modigliani, he often resorted to this method of writing. Critics claimed that his signature elongation is the result of how see the world and others, if you look at them through the glass of absinthe. Jeanne was famous for his long hair. With a soft, warm they are written, it seems, the brush caressed the hair, this gentle, humble and a shining face. Swan neck, painful nerve the subtlety of the devil – that Jeanne was not his portraits. Modigliani often left to their models as "empty" is not drawn eyes without pupils. But here's Jeanne looking askance at us, in her eyes – tenderness, anxiety, and huge force – it seems that the power of making their own destiny. She didn't try to avoid it or change it. Deciding that he met his love, she followed her to the end. According to the laws of man in her life not to be envied. And according to the laws of art she was destined to become immortal.
Jeanne is the only woman that Modigliani was going to marry. Preserved a strange note, written by him in the presence Leopold Zborowskyand Lunii Chekhov: "Today, July 7, 1919 I take the obligation to marry Mademoiselle Jeanne hébuterne, as soon as the documents arrive". The documents he stole from the nice along with the wallet, restore, Modigliani and expected. This promise was not to be fulfilled.
Among the images of Jeanne hebuterne stands out for picture 1919 "Jeanne hebuterne, seated in front of the door"(Meeting Brody, Los Angeles). It was written shortly before the death of the artist and his model. Jeanne is pregnant with her second child. Thick tone situation and clothes of Joan, radiant, warm body, blue eyes without pupils and shielding their light blue blouse, the rounded belly, the vulnerability of her image, depicts the flowing lines, the admiration of the mystery of pregnancy – Modigliani did not spoil his friend's gentle words, all the tenderness he splashed on the canvas. All images Zhanna are a special poignancy and vulnerability – she was in life, so it remained on his canvases.
Modigliani never wrote Jean Nude, although her features and trying to find many of his Nudes. He left more than 20 portraits of her, it is a very quiet, intimate lyrics, this is the talk about love, more like a whisper of love. According to art critic Michael Herman, Jeanne images "there is something excessively personal (...) as if we are given to read an intimate letter or hear the words that you whisper in my ear. Peace, unbuttoned, features that are allowed to see only one person in special moment". It's more than Nude, in the portraits of Jeanne exposed not by the body and the soul, as corny as it may sound. It is associated with images of Lydia Delektorskaya Matisse, who suddenly in his old age threw its detachment inherent in his legendary odalisca, and began to draw itwith excitement and trepidation for the first time fell in love with the student. By the way, as Lydia was not in the style of Matisse, and Joan does not quiet similar to women who were attracted to Modigliani.