• Flying people, 2011 - Vezur
  • Valdemara street, 2011 - Vezur
  • Landscape at Saint-Rémy, 1889
  • The Buffalo Trail, 1867
  • Study of a Head, 1913
  • Two Tahitian Women, 1899
  • Fields of Gold, 2011 - Vezur
  • The Second Youth, 2011 - Vezur
  • Entrance to harbor, Moonlight, 1881
  • Le Pêcheur (The Fisherman), 1909
  • Riegert aka Laima Clock, 2011 - Vezur
  • Bare Tree behind a Fence, 1912
  • Woman on a Terrace, 1857
  • Dancers V, 1877
  • Three Sisters at The Three Brothers, 2011 - Vezur
  • The Sky, 2011 - Vezur
  • Big Red Buste, 1913
  • Portrait Of Gabrielle Aka Young Girl With Flowers, 1900
  • Haymaking, 2011 - Vezur
  • Taking the Count, 1896
  • Girl with a Pearl Earring, 1666
  • The Druidess, 1893
  • Poppies, 1886
  • Boreas , 1903
  • Autumn Sun I, 1912
  • Ophelia, 1905
  • Reclining Woman with Green Stockings (aka Adele Harms), 1917
  • Seacoast at Kurzeme, 2011 - Vezur
  • Lady with hat and feather boa, 1909
  • Standing Girl in a Plaid Garment, 1909
  • A Friend in Need 2, 1903
  • Stehend Karyatide, 1913
  • Dancers in Riga Heart, 2011 - Vezur
  • Water Lilies, Green Reflection, Left Part, 1923
  • Evening in New York, 1890
  • The Large Bathers, 1906
  • The Hope II, 1908
  • Goldau, 1843
  • Moonlight, 1874
  • The End of Summer, 2011 -  Vezur
  • The Rape of Europa, 1910
  • Boat in the Moonlight
  • Two Swans, 2011 - Vezur
  • Riga in Blue, 2011 - Vezur
  • Stork, 2011 - Vezur
  • Madame Camus with a Fan, 1870
  • Autumn, 1877
  • Nabis Landscape, 1890
  • Marine bleue, 1893
  • Riga at Night, 2011 - Vezur

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.