莫迪里阿尼 Modigliani

莫迪里阿尼形式与情色：纽约的莫迪格利阿尼画展五月在纽约看画展，适逢犹太博物馆的“莫迪格利阿尼不再神秘”开幕(±Modiglian i: Beyond the Myth，2004年5月－9月)，我有幸第三次看这位画家的作品。

第一次看莫迪格利阿尼(Amedeo Modigliani, 1884－1920)回顾展，是十多年前在加拿大蒙特利尔艺术博物馆，画家的色彩中流露出的激情和执著，让我难以忘怀，自此对莫氏产生了好感。

第二次看莫迪格利阿尼，是去年夏天在洛杉矶美术馆，那里有“莫迪格利阿尼与蒙巴纳斯艺术家作品”大展。

蒙巴纳斯(Montparnasse)为巴黎地名，二十世纪初，从欧美各地前往巴黎从艺的年轻穷艺术家，不少都聚居在那里。

后来我去巴黎，还专门到蒙巴纳斯寻找莫迪格利阿尼和巴黎画派的遗踪。

现在在纽约第三次看莫氏画展，终于有机会思考他的艺术。

我对二十世纪初的欧洲早期现代主义和巴黎画派一向情有独钟，而莫迪格利阿尼又是其中我最喜欢的一位。

我喜欢他用单纯和情绪化的色彩、用即兴的笔触，来画变形拉长了的肖像及人体，喜欢他以此表达对生活的一腔激情。

通常，美术史学家们在讨论他的艺术时，都从历史发展的角度，将他同过去的画家作比较，认为他的画具有抽象形式和情色内容。

这种说法不错，但我现在在纽约第三次看莫迪格利阿尼，却想用东方人的眼光，从禅的角度，来解读他的形式与情色。

一早逝的画家一八八四年，莫迪格利阿尼生于意大利南方塔什肯尼地区一个小镇。

塔什肯尼阳光灿烂，在意大利美术史上，那里产生过著名的塔什肯尼画派，以色彩明亮著称。

莫迪格利阿尼家境不错，父亲是个有罗马血统的犹太商人。

十四岁那年，莫迪格利阿尼得了一场大病，险些丧命，由此埋下病根，也就此放弃学业。

为了使他学会料理自己的生活，两年后，母亲让他学画，没想到他竟表现出艺术天份，其画有塔什肯尼画派的强烈色光。

一九O二年，十八岁的莫迪格利阿尼入弗罗伦萨美术学院，次年转入威尼斯美术学院。

亚美迪欧·莫迪利安尼《戴帽子的珍妮·赫布特尼》（伦敦佳士得2013）亚美迪欧·莫迪利安尼戴帽子的珍妮·赫布特尼伦敦佳士得2013.2 成交价2692.125万英镑Jeanne Hébuterne au chapeau is one of the celebrated, elegant and lyrical portraits that Amedeo Modigliani created of his eponymous common-law wife, the mother of his daughter. This picture is filled with poise, accentuated by the sinuous curve of Jeanne's neck and the gentle undulation of her body as it meanders its way down the canvas. It is easy to see, looking at her posture, why some of Modigliani's pictures from this late phase in his ultimately short but dramatic and influential career are referred to as 'Mannerist' - certainly, there are hints of Parmagianino and Pontormo here. However, they are mere reverberations: Jeanne Hébuterne au chapeau is a strikingly modern work of art, an idealised image of the artist's lover. It is a tribute to the quality of Jeanne Hébuterne au chapeau that it was included, only a few years after it was painted, in the small posthumous retrospective of Modigliani's works held at the XIII Biennale in Venice in 1922, the first such show to take place in his home country. Jeanne Hébuterne au chapeau has passed through the hands of several important dealers and collectors, beginning with Léopold Zborowski; it subsequently hung in the bedroom in dealer Paul Guillaume's apartment and was included in a 1929 exhibition of his collection. It was later acquired by the Belgian collector Henri Belien, who owned a number of works by Modigliani and other artists of the time.Looking at Modigliani's life and at his work, it becomes immediately apparent that the two were almost diametrically opposed in terms of atmosphere. The serene calm of JeanneHébuterne au chapeau contras ts dramatically with the legendary tales of drunkenness and bohemianism with which Modigliani is now so often associated. Perhaps his works provided a balance to his turbulent lifestyle. Certainly, looking at Jeanne Hébuterne au chapeau, there is a near-religious sense of grace instilled in the image of his final great lover. This may reflect Jeanne's role in sometimes - only sometimes - extricating Modigliani from the worst temptations. She provided him with an element of stability and was also sometimes able to nurse him, as he suffered from ever-declining health. For these reasons, she was looked upon with great favour by a number of those surrounding Modigliani, not least Zborowski himself, who hoped, somewhat vainly, that stability would lead to productivity. Instead, Modigliani created relatively few paintings during his short life; their rarity is reflected in the fact that over the past two years, only half a dozen have come to auction.Paul Alexandre, Modigliani's early friend and patron in Paris, said of the artist: 'The true character of Modigliani is found not in all the stories that have been told about him but in his work. Anyone who knows how to look at his portraits of women, of young men, of friends, and all the others, will discover a man of exquisite sensibility, tenderness, pride, passion for truth, purity... Each portrait is the result of deep meditation in front of the sitter... Modigliani never painted without meaning' (P. Alexandre, quoted in M. Restellini, 'Modigliani: Avant-Garde Artist or "Schizophrenic Painter"?', pp. 17-32, Restellini (ed.), Modigliani: The Melancholy Angel, exh.cat., London & Paris, 2002, p. 29). While Alexandre rightly insists that Modigliani should be judged by his pictures, not his reputation and the mythology that grew around him, the two are often inextricable.亚美迪欧·莫迪利安尼戴帽子的珍妮·赫布特尼局部Nowhere is this more the case than in his ultimately tumultuous relationship with Jeanne, which ended with both their deaths, mere days apart, at the beginning of 1920, the year after Jeanne Hébuterne au chapeau was painted. In her biography of her father, Jeanne Modigliani (also known as Giovanna) wrote an account that aimed to banish the myths andtraditions that surrounded the artist, whom she had not known as she had been a baby when he died, and included this description of her mother and how she met the famous peintre maudit:'During the Carnival of 1917, Modigliani met a young student from the Académie Colarossi. Her name was Jeanne Hébuterne, and she was nineteen years old. She lived at 8 bis Rue Amyot, with her father Achille Casimir Hébuterne, an accountant, her mother Eudoxie Anaiis Tellier, and her brother André, a painter. Her father had a square white beard and worked as a cashier in a perfume shop. A passionate student of seventeenth-century literature and an atheist, he suddenly became a Roman Catholic... During the Carnival, Jeanne was at the studio of some friends, where Japanese prints and sketches of ballerinas hung on the wall, and she had dressed herself up in a pair of high boots and a sort of Russian blouse made out of a cover with a hole in the middle. Her high chignon, her bangs, the somewhat languid pose of her hands are the same in a faded photograph as they are in the first portrait of her that Modigliani ever painted. She was small, her hair was chestnut with reddish lights, and against it her complexion was so pale that the contrast made her friends nickname her "Coconut." Mme Roger Wild, who has devoutly kept the only remaining photographs of Jeanne, remembers her as a serious, intelligent girl with a strong personality' (J. Modigliani, Modigliani: Man and Myth, London, 1959, pp. 87-88).These characteristics are clearly to the fore in Jeanne Hébuterne au chapeau, where the russet hair appears to billow behind her pale head and slender neck. Modigliani's love for Jeanne was an overwhelming force. Within a short time, despite her family's disapproval, the couple were living together in ruede la Grande Chaumière in Paris, subsidised by Zborowski, the Polish poet who had become an art dealer and who would from that point onwards be one of Modigliani's most devoted followers. T owards the end of the First World War, they decamped to the South of France. Over the next few years, the couple would spend a great deal of their lives in Nice and its surroundings; Modigliani's palette would become increasingly luminous, in parallel to the development o f his friend Chaïm Soutine. The dark interiors of his earlier portraits evolved into the increasingly pastel-like shades of works such as Jeanne Hébuterne au chapeau with its turquoise-like background; this throws the dark dress and hat into bolder relief while also adding a rich luminosity to the skin tones. The influence of the South of France, of the warmth and the light and also, in 1918, the peace away from the random threat of death posed by Big Bertha, the cannon able to rain destruction on Paris from a distance of 100 kilometres, had all suffused Modigliani's works. So too did the subsequent birth of his daughter, also named Jeanne.Modigliani spent the beginning of 1919 still in the South; during this time, Jeanne became pregnant again. Around half way through the year, they both separately headed back to Paris. Jeanne Hébuterne au chapeau may have been painted either there or in the South. What appears to be a door in the background accords with some of the portraits which appear to have been created in the capital during that period as well as some pictures of Jeanne in profile believed to have been painted the previous year in Nice. Looking at Jeanne Hébuterne au chapeau, the sense of salvation that Jeanne embodied in Modigliani's pictures and in his life alike is poetically captured, not least in the hieratic gesture that she appears to be making,which likens her to a Mannerist Madonna. The raised hand recalls some images of Leda being confronted by Zeus in the form of a swan, fending off that amorous force of nature, while also infusing the picture with a singular sense of stillness that echoes the Buddhist artworks that so enchanted Modigliani. There is a mystery to this picture: the hand appears raised not in supplication or to ward anyone off, as it faces a different direction from her direct gaze, but instead is an enigmatic gesture, almost religious. At the same time, it leads the eye while also making the composition more dynamic: in a number of the pictures of Jeanne from this period, Modigliani would depict her in poses that allowed him to accentuate their sinuosity. This is the case, for instance, in the picture of Jeanne on a chair, her arm leaning on its back, in the Norton Simon Collection, Pasadena, or another featuring a similar pose showing her in a loose frock-like blouse that is now in the Metropolitan Museum of Art, New York.Modigliani used portraiture, especially of those in his immediate circle, as a means to explore an idealised aspect of humanity, an image of internal as well as external likeness. This is clearly the case in Jeanne Hébuterne au chapeau: while the hat and dress that Jeanne are wearing hint at the fashion of the day, the overall effect is one of timelessness. Jeanne has served as the Muse for an insightful and lyrical exploration of the human spirit, created using an incredibly subtle blending of colours that radiate a sense of health. Modigliani explained that, 'To do any work, I must have a living person... I must be able to see him opposite me (Modigliani, quoted in J. Modigliani, Modigliani: Man and Myth, London, 1959, p. 82). That physical presence is palpable in Jeanne Hébuterne au chapeau, as is the relationship between sitter and artist. At the same time, while Jeanne isinstantly recognisable in this work, she has been depicted in a manner that approaches a serene universality.In this way, Modigliani was continuing the investigations that had occupied him during his short-lived career as a sculptor. Having worked for some time under the guidance of the legendary Romanian sculptor Constantin Brancusi, Modigliani created a number of stone heads that were elongated and inscrutable, that had a totemic visual power and a pared-back sense of refinement that is echoed in his later paintings such as Jeanne Hébuterne au chapeau. It was with some reluctance that Modigliani had been forced to abandon sculpture as a medium, as it aggravated his already compromised health. And so he turned instead to painting, imbuing his pictures with the sculptural quality that is so evident here in the deftly-modelled neck and head in particular. Modigliani had broken with Brancusi in part because of the latter's interest in a sheer, perfect surface rather than the more ex-pressive marks that the younger artist preferred. This translates into his pictures in the dappled marks that compose so much of the picture. Nonetheless, some of Brancusi's incredibly rigorous concentration on the essential is echoed in the head and neck in particular in Jeanne Hébuterne au chapeau, which recall, say, the Romanian artist's portrait busts of Mlle Pogany. Modigliani was using a similar pictorial language in order to capture the essence both of his subject and of humanity itself. This search for an underlying dignity in human nature itself goes some way to explaining why few works other than portraits and nudes by Modigliani were created, an extremely rare exception being four landscapes from around this time.亚美迪欧·莫迪利安尼戴帽子的珍妮·赫布特尼局部It was at this time that Modigliani's works were beginning to garner increasing attention amongst the critics and the press. While never the most business-minded, Zborowski, the first owner of Jeanne Hébuterne au chapeau, nonetheless had helped to increase Modigliani's status and reputation. At various times, he would give his money, his living space and even, as a model, his wife to Modigliani to maintain the momentum of his career.Zborowski also managed to organise Modigliani's first exhibition, held in 1917 at the Galerie Berthe Weill, a show which caused a scandal as the nude visible in the street resulted in complaints to the authorities and a visit from the police. Zborowski engineered Modigliani's participation in various other exhibitions, helping to cement the reputation that he already enjoyed in the cafés of Montparnasse, where his drawings were often exchanged for goods and more importantly drinks. Crucially, in 1919 Modigliani enjoyed favourable sales and reviews when his works were shown in London in an exhibition of modern French art shown at the Mansard Gallery. His reputation was on the ascendant, yet his health was deteriorating, hence another journey to the South of France with Jeanne, who was soon pregnant with what would have been their second child. The tone of Modigliani's letters was increasingly optimistic, as he discussed a possible return to his homeland, Italy. However, it was not to be: after he had gone back to Paris, he continued painting, but was weakened and ill and died at the end of January 1920, just as he was on the brink of escaping the squalor that has since become such a legendary part of his life. Jeanne followed him in death only a couple of days afterwards, unable to live without him.Modigliani was becoming increasingly accepted as a pioneer, one of the pathfinding figures in the world of modern art, when he died, and this legacy continued to grow apace. In 1922, at the Venice Biennale, Modigliani was commemorated in his homeland for the first time with a small exhibition dedicated to him which featured Jeanne Hébuterne au chapeau. T his showcase of modern art placed Modigliani on a par with many other significant figures of the avant garde at the time.Zborowski was still poor when Modigliani died, but hisfortunes suddenly changed due to the patronage of Dr Albert C. Barnes, who purchased a catalogue of works by Soutine as well as various other artists' works. 'Zbo' did not live a great deal of time after this success, himself succumbing to ill health. It may have been at the posthumous sale of his works that Jeanne Hébuterne au c hapeau entered Guillaume's collection. Certainly, it was there in time for the 1929 exhibition of his collection, where it hung alongside works by André Derain, Pablo Picasso, Pierre-Auguste Renoir and others; many of these are now in the Musée de l'Orangerie, Paris, which houses many of the works he acquired during his life. In photographs of his home at 20, avenue de Massine in Paris, where he had moved in 1928, Jeanne Hébuterne au chapeau is shown hanging on the walls of the bedroom alongside another of Modigliani's portraits of Jeanne.Guillaume had known Modigliani for several years by the time he met Zborowski. His entrance into the art world had been driven by chance: coming from modest means, while working in a garage, he had come across a group of African sculptures in a shipment of rubber and placed them in the window, fascinated by the impression they created. This in turn grabbed the attention of Guillaume Apollinaire, who became his guide into the wider world of art, where Guillaume found himself entranced by the avant garde. Guillaume's own homes, for instance his small apartment on Avenue de Villiers, sometimes doubled as his gallery, and Modigliani himself was photographed there surrounded by some of his own pictures as well as those by other artists; it was also Guillaume who introduced Barnes to Zborowski. Both dealers featured in a number of Modigliani's portraits; in one from 1915 showing Guillaume which is now in the Orangerie, Modigliani has inscribed the words NOVO PILOTA,an indication of his belief in the dealer's trailblazing role in the avant garde and a foreshadowing of his own importance in the history of art.亚美迪欧·莫迪利安尼戴帽子的珍妮·赫布特尼局部参考译文《戴帽子的珍妮·赫布特尼》是阿梅迪奥莫迪利亚尼创作的著名、优雅和抒情的肖像之一，画的是他的妻子，他女儿的母亲。

画家名人名言艺术是人类最为高雅的创造之一，它是文明的象征，也是人类智慧的集合。

画家作为艺术的代表，他们用色彩和线条创造出精美绝伦的画作，也留下了许多令人深思的名言。

在这里，介绍几位著名画家的名言，让我们一起来品味艺术的精髓。

1.文森特·梵高文森特·梵高（Vincent van Gogh）是荷兰后印象派画家，他在自己的一生中创作了大量的作品，其中最有代表性的是阳光系列和星空系列。

梵高认为，画家的创作应该摒弃现实主义的追求，而是要关注心灵世界，通过透过表面形式的看似平淡的景物，发掘它们内在的灵性和生命力。

他曾说过：“大自然的永恒之美，隐藏在表象之下，只有用灵魂的眼睛才能看见。

”2.莫奈莫奈（Claude Monet）是19世纪末著名的法国画家，在艺术史上被誉为印象派的创始人之一。

他认为，画的不是事物的本身，而是事物引起人的感觉。

他曾经这样说过：“我的愿望是抓住那些短暂的瞬间，让人们能够直接感受到大自然的美妙与神奇。

”3.莫迪里阿尼莫迪里阿尼（Amedeo Modigliani）是意大利画家，他的作品风格简洁大方，颇为独特。

他的名言也引起了大家的共鸣：“真正的艺术是这样的，它让你的内心更加深刻，更加敏感，更加博爱。

”4.毕加索毕加索（Pablo Picasso）是20世纪最伟大的艺术家之一，创作了许多著名的作品。

他的画风多变，常常被人们形容为“传奇般的天才”。

他曾说过：“艺术不是只要做对了，就是成功的。

它是一场永无止境的斗争，一种新的追求和发现。

”5.瓦西里·康定斯基瓦西里·康定斯基（Wassily Kandinsky）是俄国的一位画家，对表现主义和抽象艺术有独特的见解。

他认为，画家的任务是在自己内心深处寻找美的灵感，并将其转化为无形的表现方式。

“抽象，是形式的本质。

每一种艺术都是寻求真理的尝试，而不是形状的追求。

”6.达芬奇达芬奇（Leonardo da Vinci）是文艺复兴时期的大师，声名远扬于世。

2019-01文艺生活LITERATURE LIFE不一样的烟火———莫迪利阿尼陈帧希（陕西师范大学，陕西西安710100）摘要:20世纪巴黎画派的多情王子莫迪利阿尼，以36个春秋的生命演绎了一个灿烂的艺术人生。

作为毁灭型艺术家的典型，在他的笔下，古埃及纳菲提提王后的长颈美人形象变得更加迷人。

长长的颈项，鹅蛋似的面庞，略微变形的修长的人体，多数肖像的眼睛都没有瞳孔，这些鲜明的特征正是莫迪利阿尼艺术风格的艺术形象的概括。

本文通过分析莫迪利阿尼的艺术风格及其形成过程，更好的了解和学习莫迪利阿尼的艺术及精神。

关键词:巴黎画派；莫迪利阿尼；长脖颈；非洲雕刻中图分类号：J205文献标识码：Ａ文章编号：1005-5312（2019）03-0038-02一、前言20世纪初，法国巴黎出现了一批特立独行的艺术家，他们遵循自我感觉热切的探究和研究现代艺术语言，他们的风格受到到当时颇为流行的艺术思潮的影响，如野兽派、立体派、表现主义、未来派、构成主义等，由于他们对鲜明突出的个性和边缘化的状态呈现出相似的特征，尽管这批艺术家们之间的风格并没有什么共同之处。

由于这个特殊的群体活跃在巴黎，于是艺术史学者将这批艺术家称为“巴黎画派”。

作为“巴黎画派”个性的代表，莫迪利阿尼仅有36岁的生命，却在他有限的生命里给20世纪的巴黎刻上了独特而永恒的印记，成为让人铭记的莫迪利阿尼。

二、艺术萌芽“绘画是一种艺术，艺术不可随波逐流”①。

成熟的艺术风格的形成对一个艺术家来说是一个漫长的过程，必须经过大量的学习实践探索，才会出现以一个相对稳定的状态呈现在画面。

莫迪里阿尼鲜明独特的艺术风格正是在经历了漫长的实践过程得以寻找到的一种满足画家需要的表现方式而呈现出的作品的整体特征。

而艺术萌芽则在这个过程中起着基础的作用。

探索莫迪里阿尼的艺术萌芽则要从他所处的环境说起，童年时期对艺术家的影响至关重要。

阿米蒂奥·莫迪利阿尼（Amedeo Modigliani）于1884年7月12日出生在意大利托斯卡纳（Toscana）地区的利沃诺（Livorno）。

158798 艺术理论论文莫迪里阿尼的绘画艺术浅析莫迪里阿尼1884年生于意大利的利佛诺，他的父亲是一位犹太商人，母亲据说是哲学家斯宾诺莎的后裔，有着良好的教养，对后来莫迪里阿尼的成长和在哲学艺术方面的培养起到了重要的作用。

莫迪里阿尼从小体弱多病，有时甚至辍学养病，辍学期间他得到了母亲的悉心照顾，阅读了大量哲学、艺术方面的书籍，其中尼采在美学方面的审美意识、世界观、艺术形而上的观点对莫迪里阿尼的影响尤为深远。

1902年莫迪里阿尼先后在弗罗伦斯和威尼斯接受正规的美术教育，开始关注意大利的古典主义艺术。

1906莫迪里阿尼来到当时艺术思潮正走向活跃的巴黎，这时的巴黎画坛野兽派刚做了第一个展览，而立体主义也正在蜕变之中……，这些都给年轻的莫迪里阿尼后来的艺术创作以深刻的影响，并最终成就了莫迪里阿尼独特艺术风格。

一、莫迪里阿尼绘画风格的形成莫迪里阿尼是十九世纪末二十世纪初巴黎画派的代表性人物，当时的巴黎画派在巴黎画坛属于底层艺术，并不是当时艺术的主流。

其表现风格源于意大利，题材以肖像和人体为主，但莫迪里阿尼的画面效果既不像马蒂斯、毕加索也不像康定斯基和克利，而是融合了各家所长的一种独特的艺术形式，开启了一扇艺术语言表现的独立、自由、创新之门。

早期莫迪里阿尼在弗罗伦斯和威尼斯学习期间受到的主要是传统艺术教育，看到的也是古典主义时期的作品，所以这一时期古典主义对莫迪里阿尼的影响是很大的，特别是波提切利的线条和安格尔的人体处理方式最为突出。

之后莫迪里阿尼在塞尚回顾展上发现了塑造形体的突破口，在劳德雷克作品中发现对面部特征嘲讽式的表现方式以及雷诺阿的金色，画面逐渐变得表现。

1914年以后莫迪里阿尼的作品明显受到立体主义的影响，人物形象结构都以线条表现，空间表现被压缩，正面的肖像中带着侧面的鼻子，外形也被有意识拉长。

同时莫迪里阿尼还融合了雕塑中的高度造型意识，强烈、单纯的倾向在他作品中也逐渐体现出来。

晚期莫迪里阿尼的作品更加成熟，线条的使用更加自然流畅，形成了小嘴、长鼻、无瞳孔、圆筒形长颈的画面风格。

莫迪里阿尼（下）意大利绘画大师莫迪里阿尼（下）（意大利绘画大师）MODIGLIANI今晚／我从一座桥走过／但是／那里根本没有桥／我／带着满心的爱／却无人与我分享／于是我想到了你／爱／爱／爱／我们用不着展望什么未来／艺术的未来就在一个女人脸上／爱人／爱人／爱人／那个有名的毕加索／毕加索／毕加索／告诉我／你会娶一个立方体吗？毕加索／毕加索／毕加索／赞助人的大麻1907年，莫迪预见了他的第一位艺术赞助人保罗·亚历山大（Paul Alexander），他比莫迪大三岁，是个医生的儿子。

保罗提供的麻药和实验用的大麻刺激了莫迪吸食大麻的习惯，他收藏了莫迪的25画，400多幅素描。

莫迪为保罗画的肖像画中，保罗高大时尚、脸色苍白、脸颊红润、蓄须，两撇优雅的小胡子在脸庞两侧向上翘着，身着高领、剪裁合体的蓝色西装。

莫迪的很多朋友都加入到了巴黎当代艺术运动中——未来派、立体派、野兽派、抽象派、表现主义、超现实主义——但莫迪却拒绝加入任何一派。

他早期的作品受到的是源自拉斐尔前排的新艺术运动、塞尚的充实、高更异国情调的裸体画、野兽派的感性与色彩、立体派破碎的平面和德国表现主义的心理痛苦。

他有一种敏锐的能力，能从每场艺术运动中取其所需，化为已用。

他早期的作品受到的是源自拉斐尔前排的新艺术运动、塞尚的充实、高更异国情调的裸体画、野兽派的感性与色彩、立体派破碎的平面和德国表现主义的心理痛苦。

毕加索的牺牲品巴黎的艺术家们有一个公认的领袖——来自西班牙的毕加索。

他与莫迪几乎同岁，两人也有一种祖辈源自地中海的共鸣。

毕加索也是素描的爱好者，他还告诉莫迪要坚持画下去，“素描画的再多也还是不够”。

有时毕加索也把莫迪当对手，画室里莫迪的一张画作会因为他恼怒而被撕掉，但他后来又买了另一幅莫迪的画作《双手放在膝盖上的年轻女人》，如今收藏在巴黎的毕加索博物馆。

毕加索对他的影像清晰可见，他1908年的画作《年轻女人的头像》与毕加索1902年的画作《忧郁的女人》一样，同样的大帽子、低额头、偏紫色的肤色、厚厚的嘴唇、坚毅的下巴这两位画家是不公平的对手，同样是小个子，同样满腹才华、精力充沛，但更有野心的毕加索很早就有了自己的追随者，而莫迪也无法和他那千变万化、压倒一切的天赋相衡，“我是又一个被毕加索所害的人。

浅析莫迪里阿尼的绘画艺术特点作者：门芳艳来源：《丝路艺术》2017年第03期1906年莫迪里阿尼初到巴黎，正是世纪之交的法国一片繁荣景象。

在工业时代的冲击下所带来物质上的新鲜和享受，人们价值观念和思想观念发生了翻天覆地的改变，这一时期的艺术之都也涌动着剧烈的变化。

莫迪里阿尼深受意大利的传统艺术的影响，曾三次去学习雕塑，他的绘画作品如同雕塑一样的简练朴素，原始有力。

莫迪里阿尼的肖像画和裸体画具有鲜明的个性特征，他所创造的艺术意象给后人很多的猜测和想象空间。

在他短暂的生命历程里他用自己的风格惊震了世界，对二十世纪艺术的发展做出巨大的贡献。

一、莫迪里阿尼绘画风格的形成“罗马就是我耳畔的一曲管弦乐，我将自己封闭在这个很有限的空间内，聚精会神。

狂欢，凄凉的风景，美丽和谐的形态——在我的构思和作品中这些全都成了我的”1901年莫迪利阿尼来到罗马，几乎每天都在大大小小的美术馆里临摹大师作品，细心研究古典绘画技法，钻研吸取艺术养分，他在这里找到了灵感和艺术的真谛。

优美的线条，淡淡的惆怅和伤感的情绪总是让每一副画都充满了诗意。

他临摹了很多古代艺术巨匠的作品，他的油画作品继承了优秀的意大利古典主义美，平面化的绘画依旧是建立在色彩和形体的秩序里面。

1906年22岁的莫迪里阿尼来到巴黎，从小就精通法语的他很快融入了艺术氛围。

他的《大提琴手》在1910年的独立沙龙中获得好评，大提琴手的身体显得特别修长，和大提琴的曲线相互呼应，产生了一种音乐的流动感。

这幅画吸取了后印象派塞尚的绘画特点，画面中蓝灰色的人物和黄色大提琴将画面进行了分割，用色彩的布局拉开了空间的层次画面的秩序感，画面中人物面部五官刻画朴素而充实。

他早期的人物肖像画作品受野兽派马蒂斯、毕加索的影响，画面用色大胆感性，富有激情，更加具有装飾性，背景几乎全是简单的几何形体分割，而不是客观的情景再现，在抽象的背景里更能显得他的人物线条柔美，人物经过了变形处理，丝毫没有怪诞的感觉，如《新郎与新娘》《戴项链的裸女》。