Ritratto di Jeanne Hébuterne (Jeanne Hébuterne au henné)
Olio su tela, cm 100 x 65
Firmato in alto a destra
© Pinacothèque de Paris
Elvire con colletto bianco (Elvire con collettino)
1917 o 1918
Olio su tela
Firmato in alto a destra, cm 92 x 65
© Pinacothèque de Paris /Fabrice Gousset
ABOUT THE EXHIBITION
' These works have not been shown to the public for over seventy years, and now reappear as if by magic, as outputs from another world ' .
With these words Marc Restellini, curator of the exhibition ' Modigliani, Soutine and artists cursed. The Netter Collection ' gives the sense that the exhibition opens November 14, 2013 at the Museo Fondazione Roma, sponsored by the Rome Foundation, the City of Milan, Palazzo Reale, the Superintendence for the Historical, Artistic and Ethno-anthropological Heritage and Museums of the City of Rome and produced and organized by Arthemisia Group in collaboration with the Pinacothèque de Paris.
More than 120 works on display to reconstruct the path of these artists who lived a fascinating period in the history of art in the neighborhood of Montparnasse in the early '900 : Modigliani, Soutine, Utrillo, Suzanne Valadon, Kisling and many others.
Modigliani had landed in Paris in 1906, feeling that this was the place where he could ' save his dream ' . He settled in Montparnasse, in those years, it becomes the artists' quarter, not only painters, but also writers, such as Hemingway and Miller, Jarry and intellectuals such as Cocteau, political refugees as Lenin and Trotsky .
The meeting places are cheap trattorias and taverns - cellars where you pull late talking about art and politics, and not infrequently the discussions end in fights. The living conditions are very poor for everyone, but it is the sacred fire of art, the knowledge that their works are forever changing the aesthetic, to give strength to Modigliani and his companions to move forward.
If Impressionism, despite having made a revolution in the way of painting, did not come out at the bottom of the canons of naturalism, with works by Modigliani, Soutine, Utrillo, art becomes independent from the subject portrayed and the cultural and artistic traditions the countries of origin of the individual artists, creating the first true revolution in the world of art and the reversal of the fees hitherto known . It is in this context - that of soon to be called bohemian - which, as the editor writes Marc Restellini : ' These spirits tormented express themselves in a painting that feeds on despair. Ultimately, their art is not Polish, Bulgarian, Russian, Italian or French, but absolutely original simply, is in Paris that everyone has found the means of expression that best translated the vision, sensuality and dreams to each of their own ' .
And again: ' Those years correspond to a period of emancipation and turmoil that has few equals in the history of art. Everywhere in Europe was being an aesthetic revolution, a prelude to an evolution of morals, and it is in Paris, ' the only place in the world where the insurgency has the right to citizenship ', first in Montmartre and Montparnasse then, that those artists - all of them Jews - were left groped for the lot ' . And it was also jew Jonas Netter, an important figure for the artists in the exhibition, without which many of them would not have had enough to live and support themselves : the exhibition, divided into six sections, compares the masterpieces acquired during the his life by Jonas Netter, who, fascinated by art and painting, it becomes an enlightened and keen amateurs recognizer of talent, thanks to the encounter with the Polish poet and art dealer Leopold Zborowski, he also jew .
Netter met Modigliani, Soutine, Utrillo and comes into contact with Valadon, Kisling, Krémègne, Kikoïne, Hayden, Ébiche, Antcher and Fournier . Their production fascinates him and pushes him to support them generously by the merchant and buy their work : he becomes almost a " patron ", inspired and brilliant together so that when Modigliani is forced to move to the French Riviera because of health problems, buys from the young Italian paintings enough to enable him to make the journey, during which the artist then work intensively . Netter Modigliani admired the originality of the creative genius, deeply loves his stylized female faces on long tapered necks, as Elvire au col blanc ( Elvire à la collerette ) of 1917-18 and Fillette en robe jaune ( Portrait de jeune femme à la collerette ) of 1917, both exhibited together Portrait de Zborowski, 1916 and Portrait of Soutine, also made in 1916 after a meeting between the two artists, which build a solid friendship, to the point that it is to submit to Netter Soutine, Modigliani . Chaim Soutine are exhibited over twenty oils - a real show in the exhibition - including L' Homme au chapeau, L'Escalier rouge à Cagnes and La Folle .
Similarly Netter discovers the paintings of the so-called white period of Utrillo, particularly the landscapes, including shows in Place de l'église à Montmagny, Église de banlieue à Montmartre and Rue Muller . Netter decides to protect this eternal child disenchanted, since adolescence prey to the fumes of alcohol, in love with the mother, Suzanne Valadon, a talented and original painter, she also present with his works on display, as Ketty nue s'étirant or Église de Neyron .
If today we admire these works as masterpieces of art, we must not forget, however, that at the time saw the light were considered true opprobrium . This is why the intuition of Netter is a true prophecy, as well as a courageous act and often disinterested. Little was known of this man that was his discretion. Today, thanks to the work of rebuilding Restellini, we can get an idea of his face that made his portrayal, which is recognized by old family photos, Kisling, which is also on display.
And legend has it that it was just to present Modigliani Kisling in Netter . Because of his attitude so discreet, Jonas Netter is not nothing personal . Except for the works he loved and collected and that we can now contemplate.