• Moonrise over the Sea, 1822
  • Winter at the seaside, 2011 - Vezur
  • Woman with Black Hat, 1909
  • Girl with a Pearl Earring, 1666
  • Garden Study of the Vickers Children, 1884
  • Anemones, 1909
  • Poppy field, 2011 - Vezur
  • Blue cow, 2011 - Vezur
  • Café Terrace at Night, 1888
  • Self Portrait with Hands on Chest, 1910
  • Riga Springtime, 2011 - Vezur
  • Old Riga view, 2011 - Vezur
  • Study for The Spanish Dance, 1882
  • Lane at the Jardin du Luxembourg, 1886
  • Big Red Buste, 1913
  • Almond Branches in Bloom, San Remy, 1890
  • Autumn, 1877
  • Cold Morning, 2011 - Vezur
  • Cherubini, 1514
  • Dead Mother, 1910
  • Bare Tree behind a Fence, 1912
  • Yellow Circle, 1926
  • The Football Players, 1908
  • Lady of the Flowers, 1895
  • Stork, 2011 - Vezur
  • Poppy field in Giverny, 1885
  • Madame Camus with a Fan, 1870
  • Reclining Semi-Nude with Red Hat, 1910
  • Old Town Back In 30's, 2011 - Vezur
  • The Starry Night, 1889
  • Two Little Girls On The Beach, 1895
  • An Angel
  • Le Pêcheur (The Fisherman), 1909
  • Dandelions, Ventas Rumba, 2011 - Vezur
  • Gloomy Situation, 1933
  • Adam and Eve, 1526
  • Spanish Dancer, 1882
  • Walk Along The Sea, 2011 - Vezur
  • A Carnival Evening, 1886
  • Summer Evening, 1886
  • Dancers V, 1877
  • Golden autumn, 2011 - Vezur
  • The Veteran in a New Field, 1865
  • Bridge of Europe, 1877
  • The Star, 1878
  • Water Lilies, 1906
  • Seacoast at Engure, 2011 - Vezur
  • Poppies at Argenteuil, 1873
  • Riga at sunset, 2011 - Vezur
  • The Banks of the River at Veneux, 1881

Stehend Karyatide, 1913

Stehend Karyatide, 1913

Amedeo Modigliani

Although this work is painted in oil on canvas, it conveys a strong impression of sculpted stone. This painting primarily depicts form; the volumes that make up the caryatid’s figure are geometric and articulated. ‘Caryatid’ comes from the Greek karyatides, the priestesses of Artemis at Caryae, and it means a sculpted female figure built to support entablature. This caryatid is certainly sculptural, but she is also fundamentally paradoxical. Her forearms, perpendicular to her biceps and mirroring the vertical axis of her body, support nothing. Modigliani’s primary interest seems to be her figure and the shapes that form it. Her pose is merely an attitude and the rhythm of her body is interrupted. Each form is separated from its neighbour. The caryatids show Modigliani at his most fully abstracted and formalist.

The painting will be delivered unstreched, rolled in protective & presentable case.