Monday, April 6, 2020

The Introduction of the Works by Amedeo Modigliani: 40. Portrait of Paul Guillaume (Novo Pilota) (1915)


How are you?

Modigliani Institute Korea (MIK) is currently introducing artworks of Amedeo Modigliani one by one every week.

The 40th work to introduce for this week is “Portrait of Paul Guillaume (Novo Pilota) (1915)”.

This work is a portrait of an expressionist style and an oil painting on cardboard with the size of 105 x 75 cmCurrently, this work is owned by the Musée de l'Orangerie in Paris, France.

This work is a portrait of Paul Guillaume, who was his friend and art dealer, painted by Modigliani in 1915,

Modigliani painted this work at 13 Rue Norvins, where Beatrice Hastings lived. Modigliani lived there with her at the time and before her, Emil Zola lived.

Paul Guillaume, who was introduced to Modigliani by Max Jacob in 1914, became the only buyer of Modigliani's work from 1915 to 1916 and his first real dealer.

Paul Guillaume appeared Parisian art scene in 1914, when he opened his first gallery on the rue de MirosmesnilGuillaume, who determined to escape from the background of his poor family he was born at all cost, studied art at the Montmartre cafés and began his art career by collecting Picasso's works and African statues, and later became an expert especially on African statues.

One day, the owner of the garage, where Guillaume worked to make his living, allowed him to display one of his African statues in the garage window. At this time, the sculpture displayed in the window was noticed by Apollinaire, who was a writer and an art critic, and thus Guillaume thereafter was able to begin the life of art dealing and research as full-time job. Thanks to Apollinaire, Max Jacob and Waldemar George, Guillaume was able to expand his business, the art dealing, and even maintained it during World War I.

For Modigliani, in an open letter to Francis Carco, Guillaume wrote "When Max Jacob introduced Modigliani to me in 1914, he was a sculptor who drew painting. Rightly or wrongly I felt responsibility to urge Modigliani to paint rather than sculpture."

Unfortunately, Guillaume died at the young age of 43, and a lot of suspicions especially related to his wife, Domenica, were raised for his questionable death, and his wife was once accused of the murder of Paul Guillaume. After Guillaume's death, Domenica, who married French architect Jean Walter, decided to donate her ex-husband Guillaume's collection to the French government, and since she died, Musée de l'Orangerie possessed many pieces of his collection

This work is characterized by containing many texts and symbols.

First of all, “A Star of David” symbol and the text “STELLA MARIS” are displayed on the upper right of the work, and his signature “MODIGLIANI”, the “swastika” symbol in the shape of a broken cross and the year “1915” when Modigliani painted this work are displayed on the lower right.

upper right

lower right

In addition, the text “PAUL GUILLAUME” is written at the top left and the text “NOVO PILOTA” is written at the bottom left with two lines ending “arrow”.

top left

bottom left

Let's summarize the meaning of these texts and symbols that Modigliani used in this work.

First, the Star of David is commonly used as a symbol of modern Jewish identity and Judaism.

Second, the Latin “Stella Maris,” which translates into “star of the sea,” is one of the titles referring to the Virgin Mary, the mother of Jesus Christ.

Third, “swastika” is a broken cross-shaped “ or “”, a geometrical figure and an ancient religious icon in the Eurasian cultures, and used as a symbol of divinity and spirituality in Indian religions, including Hinduism, Buddhism and Jainism. Swastika was also used as a symbol of the German Nazis, but when Modigliani used this symbol in this painting, the Nazis did not exist. Therefore, it is simply an ancient Sanskrit’s symbol.

Fourth, “NOVO PILOTA” means “new pilot”.

Perhaps these texts and symbols seem to be intended to express a sincere appreciation of Modigliani to Paul Guillaume, who became working with him as his dealer, as well as implicitly to express his Jewish origin.

Then, this work could be included as one of the few that Modigliani expressed his Jewish identity in his works.

Thank you.


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