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Paul Delvaux: A Walk with Love and Death

From 24 February to 07 June 2015

Early booking is recommended



Autor:
Paul Delvaux
Título:
The Table, 1946
Técnica:
Oil on canvas
Medidas:
86 x 76 cm

Ubicacion:
Private Collection on deposit at Musée d´lxelles, Brusssels
© Foundation Paul Delvaux, Koksijde, Belgium / VEGAP – SABAM – 2015

Zurbarán. A New Perspective

From 9 June to 13 September 2015

Advance booking already available



Autor:
Francisco de Zurbarán
Título:
Saint Serapion, 1628
Técnica:
Oil on canvas, 120.2 x 104 cm
Ubicacion:
Hartford, Wadsworth Atheneum Museum of Art, CT.
The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund
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  • Head of a Woman. Kiki?

Thyssen-Bornemisza Collection

Autor:
Amedeo Modigliani
Título:
Head of a Woman. Kiki?
Fecha:
1915
Técnica:
Oil on paper
Medidas:
43 x 26 cm
Úbicacion:
Museo Thyssen-Bornemisza, Madrid
Numero de inventario
INV. Nr. 791 (1991.5)

More information about this work




Modigliani was above all a portraitist. According to Werner Schmalenbach , his need to “take possession of those around him” stemmed from a sort of “primary instinct” inherent in his very nature as an artist. Always departing from painting tradition, his entire oeuvre exudes a classical serenity and harmony that combines with the formal schematisation taken from primitive sculpture and from the influence of Cézanne and Cubism.

Although the present Head of a Woman, painted in oil on paper, is not featured in Joseph Lanthemann’s catalogue raisonné , it can be related to a set of heads dated 1915, which evidence the artist’s shift from sculpture to painting as a result of the influence of Cubist geometry. It may be a portrait of Kiki de Montparnasse, whose identity, as was common practice in Modigliani, is concealed by his use of types: the schematised face, the asymmetrical eyes that have no gaze, and the features converted into signs. Modigliani heavily geometrises his sitters and this, together with their almost sacred solemnity and emotional distancing, raises them to the category of effigies. As Tamar Garb aptly sums up, “the power of Modigliani’s portraits lies in their capacity to render the tensions between the generic and the specific, the mask and the face, the endemic and the particular.”

The portrait belonged to French ambassador Henri Hoppenot (1891–1977) and his wife Hélène Hoppenot , an art lover and friend of numerous avant-garde artists like Marcel Duchamp. The couple amassed a large collection of art and artistic objects from the Far East.

Paloma Alarcó

© 2009 Museo Thyssen-Bornemisza

Paseo del Prado 8, 28014 Madrid, España

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