Jeanne Hébuterne
| Support Type: | Canvas |
| Paint Type: | Oil Paint |
| Current Location: | The Metropolitan museum of Art, New York |
| Location History: | The painting was first owned by Leopold Zborowski in Paris, who was one of Amedeo Modigliani’s principal dealers and supporters. By 1923, it had entered the collection of Gaston Monteux, who kept it in Paris and Cap d’Antibes. After his death in 1927, the painting passed by inheritance to his daughter, Germaine Monteux, and her husband, Bernard Reichenbach. The work remained with the family until 1937, when it was sold at Hôtel Drouot in Paris under the title ‘Déshabillé au fauteuil’. It was acquired by Galerie Bing in Paris and it remained there till 1951. That year, the gallery sold it to the New York art dealer Jacques Lindon, who shortly afterwards sold it to Nate B. and Mrs. Spingold of New York. In 1956, the Spingolds donated the painting to the Metropolitan Museum of Art, where it remains today. |
The painting portrays the wife of Amedea Modigliani - Jeanne Hébuterne (1898-1920), who was a frequent subject in his portraits. They were together for a very short period because of the death of Modigliani by alcohol and substance abuse, and the death of Hébuterne by suicide two years later. The painting here depicts Hébuterne in a loose garment and seated in a graceful posture, with her left hand placed on her cheek. The artist has emphasised on her typical auburn hair and blue eyes in the portrait. The left hand gesture, especially the index finger directing towards her pensive expression, is only shown in this depiction, which distinguishes it from others. Here, Hébuterne is shown pregnant, which is similar to possibly four other depictions of her created by Modigliani during 1918-1919. The figure is shown in an asymmetrical composition with an elongated body - both are key characteristics of Modigliani’s artistic style. A blue and green ochre wall with vertical division is used as the background. The process involved sketching the figure on the ground layer before using the paint on the canvas. The variations in brushtrokes can be seen through the smooth finish of the figure, which stands out against the loose brushstrokes applied in the background. The portrait has faintly painted black coloured lines on the edges, which frames the composition. Overall, the work represents a crucial example of Modigliani’s depictions of Hébuterne, highlighting both his distinctive artistic skills and emotional depth of his relationship with his wife.