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"A lady friend, not a black pantser, I'm pretty sure. Francesca, her name was." "Francesca? Tall chick? Good looking?" "I wouldn't call her a chick, exactly. More like a Madonna by Modigliani." "Yeah, Francesca. She lives in Cape Elizabeth. I was in a yoga class with her once." "I ought to take yoga," Oliver said. "The ratio is good, man. Francesca. That was years ago.
At this Congress the reformists were divided into three groups, represented by Bissolati, Turati, and Modigliani. All agreed that it was necessary not only to vote for certain reforms to this the revolutionists are agreed but also at certain times to vote for the whole budget and to support the administration.
Modigliani owed something to Cézanne and a great deal to Picasso: he was no doctrinaire: towards the end he became the slave of a formula of his own devising but that is another matter. Modigliani had an intense but narrow sensibility, his music is all on one string: he had a characteristically Italian gift for drawing beautifully with ease: and I think he had not much else.
None of them can fairly be described as doctrinaire: by that time an artist with a pronounced taste for abstractions betook himself to Cubism almost as a matter of course. All owe much to Cézanne Utrillo least; Modigliani and Marie Laurencin owe a good deal to Picasso's blue period; while Luc-Albert Moreau owes something to Segonzac.
The resolution finally adopted by the Congress was drawn up by Turati and others who represented the views of the majority of reformists. While purely negative, it was quite clear, and the fact that it was finally accepted both by Bissolati and by Modigliani is highly significant.
<b>MODIGLIANI, SIGNORINA CORINNA.</b> Silver medal at Turin Exposition, 1898; silver medal at the Exposition of Feminine Art, 1899, 1900; diploma at Leghorn, 1901; gold medal. Member of the International Artistic Association. Born in Rome. Pupil of Professore Commendatore Pietro Vanni.
For instance, it must have been at the end of 1912, or the beginning of 1913, that I first heard of Modigliani, Utrillo, Segonzac, Marie Laurencin, Luc-Albert Moreau and Kisling, though doubtless all were known earlier to wide-awake men on the spot.
And though Duncan Grant holds his own handsomely with Marchand, Vlaminck, Lhote, de Segonzac, Bracque and Modigliani, I am not yet prepared to class him with Matisse, Picasso, Derain, and Bonnard. Having bravely recognized this disagreeable truth, let us take as much interest in contemporary British painting as we can.
However, most of the Futurists have retired to their own country, where we will leave them. On the other hand, the most gifted Italian painter who has appeared this century, Modigliani, was bred on the Boulevard Montparnasse. In the movement he occupies an intermediate position, being neither of the pioneers nor yet of the post-war generation.
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