Amadeo Modigliani
Copyright Michael D. Robbins 2005

Astro-Rayological Interpretation & Charts
Quotes
Biography
Images and Physiognomic Interpretation

to Volume 3 Table of Contents

Amadeo Modigliani—Artist

(1884-1920) July 12, 1884, Livorno, Italy, 9:00 AM, LMT. (Source: Gauqelin) Died, of tuberclular meningitis, He died of tubercular meningitis on January 24, 1920.

Ascendant, Virgo, with Mars and Uranus conjunct in Virgo; MC, Gemini with Pluto in Gemini conjunct the MC and Saturn also in Gemini; Sun in Cancer conjunct Mercury and Venus in Cancer; Moon in Pisces; Jupiter in Leo Neptune in Taurus.

Italian portrait pointed of artists, poets, musicians, and models, usually with long bodies and oval heads. Moved to Paris in 1906, and supported himself for a while by sketching care portraits; later also did sculpture.

Happiness is an angel with a serious face.

I am now rich in fruitful ideas and I must produce my work.

Rome is not outside me, but inside me.. Her feverish sweetness, her tragic countryside, her own beauty and harmony, all these are mine, for my thought and my work.

What I am seeking is not the real and not the unreal but rather the unconscious, the mystery of the instinctive in the human race.
(Moon in Pisces. Sun in Cancer.)

"The man who cannot find new ambitions and even a new person within himself, who is always destined to wrestle with what has remained rotten and decadent . . . is not a man."

He died—probably of tubercular meningitis—in the Hospital de la Charite, gasping “Italia! Cara, cara Italia!” (Italy! Dear, dear Italy!)

Too much mud!...
Amadeo Modigliani's reaction to Rodin's influence as quoted by Jacques Lipchitz.

"One eye looks out, and another looks in"

Amedeo Modigliani

Amedeo Clemente Modigliani (July 12, 1884 – January 24, 1920) was a Jewish-Italian painter and sculptor who pursued his career for the most part in France. Modigliani was born in Livorno, Italy and began his artistic studies in Italy before moving to Paris in 1906. Influenced by the artists in his circle of friends and associates, by a range of genres and movements, and by primitive art, Modigliani's oeuvre was nonetheless unique and idiosyncratic. He died in Paris of tubercular meningitis - exacerbated by a lifestyle of excess - at the age of 35.

Early life
Modigliani was born into a Jewish family in Livorno, Italy.

Livorno was still a relatively new city, by Italian standards, in the late nineteenth century. The city on the Tyrrhenian coast dates from around 1600, when it was transformed from a swampy village into a seaport. The Livorno that Modigliani knew was a bustling centre of commerce focused upon seafaring and shipwrighting, but its cultural history lay in being a refuge for those persecuted for their religion. His own maternal great-great-grandfather was one Solomon Garsin, a Jew who had immigrated to Livorno in the eighteenth century as a religious refugee[1].

Modigliani was the fourth child of Flaminio Modigliani and his wife, Eugenia Garsin. His father was in the money-changing business, but when the business went bankrupt, the family lived in dire poverty. In fact, Amedeo's birth saved the family from certain ruin, as, according to an ancient law, creditors could not seize the bed of a pregnant woman or a mother with a newborn child. When bailiffs entered the family home, just as Eugenia went into labour, the family protected their most valuable assets by piling them on top of the expectant mother.

Beset with health problems after a bout of typhoid at the age of fourteen, two years later he contracted the tuberculosis which would affect him for the rest of his life.

Modigliani had a particularly close relationship with his mother, who taught her son at home until he was ten. To help him recover from his many childhood illnesses, she took him to Naples in Southern Italy, where the warmer weather was conducive to his convalescence.

His mother was, in many ways, instrumental in his ability to pursue art as a vocation. When he was eleven years of age, she had noted in her diary that:

“ The child's character is still so unformed that I cannot say what I think of it. He behaves like a spoiled child, but he does not lack intelligence. We shall have to wait and see what is inside this chrysalis. Perhaps an artist?[2] ”

Art student years
Modigliani is known to have drawn and painted from a very early age, and thought himself "already a painter", his mother wrote[3], even before beginning formal studies. Despite her misgivings that launching him on a course of studying art would impinge upon his other studies, his mother indulged the young Modigliani's passion for the subject.

At the age of fourteen, while sick with the typhoid fever, he raved in his delirium that he wanted, above all else, to see the paintings in the Palazzo Pitti and the Uffizi in Florence. As Livorno's local museum only housed a sparse few paintings by the Italian Renaissance masters, the tales he had heard about the great works held in Florence intrigued him, and it was a source of considerable despair to him, in his sickened state, that he might never get the chance to view them in person. His mother promised that she would take him to Florence herself, the moment he was recovered. Not only did she fulfil this promise, but she also undertook to enrol him with the best painting master in Livorno, a Guglielmo Micheli.

Micheli and the Macchiaioli
Modigliani worked in the studio of Micheli from 1898 to 1900. Here his earliest formal artistic instruction took place in an atmosphere deeply steeped in a study of the styles and themes of nineteenth-century Italian art. In his earliest Parisian work, traces of this influence, and that of his studies of Renaissance art, can still be seen: artists such as Boldini[1] figure just as much in this nascent work as do those of Toulouse-Lautrec.

Modigliani showed great promise while with Micheli, and only ceased his studies when he was forced to, by the onset of tuberculosis.

In 1901, whilst in Rome, Modigliani admired the work of Domenico Morelli[2], a painter of melodramatic Biblical studies and scenes from great literature. It is ironic that he should be so struck by Morelli, as this painter had served as an inspiration for a group of iconoclasts who went by the title, the Macchiaioli (from macchia - "dash of colour", or, more derogatively, "stain"), and Modigliani had already been exposed to the influences of the Macchiaioli. This minor, localised art movement was possessed of a need to react against the bourgeois stylings of the academic genre painters. While sympathetically connected to (and actually pre-dating) the French Impressionists, the Macchiaioli did not make the same impact upon international art culture as did the followers of Monet, and are today largely forgotten outside of Italy.

Modigliani's connection with the movement was through Micheli, his first art teacher. Micheli was not only a Macchiaioli himself, but had been a pupil of the famous Giovanni Fattori, founder of the movement. Micheli's work, however, was so fashionable and the genre so commonplace that the young Modigliani reacted against it, preferring to ignore the obsession with landscape that, as with French Impressionism, characterised the movement. Micheli also tried to encourage his pupils to paint en plein air, but Modigliani never really got a taste for this style of working, sketching in cafes, but preferring to paint indoors, and especially in his own studio. Even when compelled to paint landscapes (three are known to exist[4]), Modigliani chose a proto-Cubist palette more akin to Cezanne than the Macchiaioli.

While with Micheli, Modigliani not only studied landscape, but also portraiture, still-life, and the nude. His fellow students recall that the latter was where he displayed his greatest talent, and apparently this was not an entirely academic pursuit for the teenager: when not painting nudes, he was occupied with seducing the household maid[5].

Despite his rejection of the Macchiaioli approach, Modigliani nonetheless found favour with his teacher, who referred to him as "Superman", a pet name reflecting the fact that Modigliani was not only quite adept at his art, but also that he regularly quoted from Nietzsche's Thus Spake Zarathustra. Fattori (founder of the Macchiaioli) himself would often visit the studio, and approved of the young artist's innovations[6].

In 1902, Modigliani continued what was to be a life-long infatuation with life drawing, enrolling in the Accademia di Belle Arti (Scuola Libera di Nudo, or "Free School of Nude Studies") in Florence. A year later while still suffering from tuberculosis, he moved to Venice, where he registered to study at the Istituto di Belle Arti.

It is in Venice that he first smoked hashish and, rather than studying, began to spend time frequenting disreputable parts of the city. The impact of these lifestyle choices upon his developing artistic style is open to conjecture, although these choices do seem to be more than simple teenage rebellion, or the cliched hedonism and bohemianism that was almost expected of artists of the time; his pursuit of the seedier side of life appears to have roots in his appreciation of radical philosophies, such as those of Nietzsche.

Early literary influences
Having been exposed to erudite philosophical literature as a young boy under the tutelage of Isaco Garsin, his maternal grandfather, he continued to read and be influenced through his art studies by the writings of Nietzsche, Baudelaire, Carduzzi, Comte de Lautréamont, and others, and developed the belief that the only route to true creativity was through defiance and disorder.

Letters that he wrote from his 'sabbatical' in Capri in 1901 clearly indicate that he is being more and more influenced by the thinking of Nietzsche. In these letters, he advised friend Oscar Ghiglia,

“ (hold sacred all) which can exalt and excite your intelligence... (and) ... seek to provoke ... and to perpetuate ... these fertile stimuli, because they can push the intelligence to its maximum creative power.[7] ”

The work of Lautréamont was equally influential at this time. This doomed poet's Les Chants de Maldoror became the seminal work for the Parisian Surrealists of Modigliani's generation, and the book became Modigliani's favourite to the extent that he learnt it by heart[8]. The poetry of Lautréamont is characterised by the juxtaposition of fantastical elements, and by sadistic imagery; the fact that Modigliani was so taken by this text in his early teens gives a good indication of his developing tastes. Baudelaire and D'Annunzio similarly appealed to the young artist, with their interest in corrupted beauty, and the expression of that insight through Symbolist imagery.

Modigliani wrote to Ghiglia extensively from Capri, where his mother had taken him to assist in his recovery from the tuberculosis. These letters are a sounding board for the developing ideas brewing in Modigliani's mind. Ghiglia was seven years Modigliani's senior, and it is likely that it was he who showed the young man the limits of his horizons in Livorno. Like all precocious teenagers, Modigliani preferred the company of older companions, and Ghiglia's role in his adolescence was to be a sympathetic ear as he worked himself out, principally in the convoluted letters that he regularly sent, and which survive today[9].

“ Dear friend
I write to pour myself out to you and to affirm myself to myself.

I am the prey of great powers that surge forth and then disintegrate...

A bourgeois told me today - insulted me - that I or at least my brain was lazy. It did me good. I should like such a warning every morning upon awakening: but they cannot understand us nor can they understand life...[10]”

In 1906 Modigliani moved to Paris, then the focal point of the avant-garde. In fact, his arrival at the epicentre of artistic experimentation coincided with the arrival of two other foreigners who were also to leave their marks upon the art world: Gino Severini and Juan Gris.

The Jewess, 1908He settled in Le Bateau-Lavoir, a commune for penniless artists in Montmartre, renting himself a studio in Rue Caulaincourt. Even though this artists' quarter of Montmartre was characterised by generalised poverty, Modigliani himself presented - initially, at least - as one would expect the son of a family trying to maintain the appearances of its lost financial standing to present: his wardrobe was dapper without ostentation, and the studio he rented was appointed in a style appropriate to someone with a finely attuned taste in plush drapery and Renaissance reproductions. He soon made efforts to assume the guise of the bohemian artist, but, even in his brown corduroys, scarlet scarf and large black hat, he continued to appear as if he were slumming it, having fallen upon harder times[11].

When he first arrived in Paris, he wrote home regularly to his mother, he sketched his nudes at the Colarossi school, and he drank wine in moderation. He was at that time considered by those who knew him as a bit reserved, verging on the asocial[12]. He is noted to have commented, upon meeting Picasso who, at the time, was wearing his trademark workmen's clothes, that even though the man was a genius, that did not excuse his uncouth appearance[13].

Transformation
Within a year of arriving in Paris, however, his demeanour and reputation had changed dramatically. He transformed himself from a dapper academician artist into a sort of prince of vagabonds.

The poet and journalist Louis Latourette, upon visiting the artist's previously well-appointed studio after his transformation, discovered the place in upheaval, the Renaissance reproductions discarded from the walls, the plush drapes in disarray. Modigliani was already an alcoholic and a drug addict by this time, and his studio reflected this. Modigliani's behaviour at this time sheds some light upon his developing style as an artist, in that the studio had become almost a sacrificial effigy for all that he resented about the academic art that had marked his life and his training up to that point.

Not only did he remove all the trappings of his bourgeois heritage from his studio, but he also set about destroying practically all of his own early work. He explained this extraordinary course of actions to his astonished neighbours thus:

“ Childish baubles, done when I was a dirty bourgeois.[14] ”

Portrait of Jaques and Berthe Lipchitz, 1916The motivation for this violent rejection of his earlier self is the subject of considerable speculation. The self-destructive tendencies may have stemmed from his tuberculosis and the knowledge (or presumption) that the disease had essentially marked him for an early death; within the artists' quarter, many faced the same sentence, and the typical response was to set about enjoying life while it lasted, principally by indulging in self-destructive actions. For Modigliani such behavior may have been a response to a lack of recognition; it is known that he sought the company of other alcoholic artists such as Utrillo and Soutine, seeking acceptance and validation for his work from his colleagues[15].

Modigliani's behavior stood out even in these Bohemian surroundings: he carried on frequent affairs, drank heavily, and used absinthe and hashish. While drunk he would sometimes strip himself naked at social gatherings[16]. He became the epitome of the tragic artist, creating a posthumous legend almost as well-known as that of Vincent van Gogh.

During the 1920s, in the wake of Modigliani's career and spurred on by comments by Andre Salmon crediting hashish and absinthe with the genesis of Modigliani's style, many hopefuls tried to emulate his 'success' by embarking on a path of substance abuse and bohemian excess. Salmon claimed - erroneously - that whereas Modigliani was a totally pedestrian artist when sober,

“ ...from the day that he abandoned himself to certain forms of debauchery, an unexpected light came upon him, transforming his art. From that day on, he became one who must be counted among the masters of living art.[17] ”

While this propaganda served as a rallying cry to those with a romantic longing to be a tragic, doomed artist, these strategies did not produce unique artistic insights or techniques in those who did not already have them.

In fact, art historians suggest[18] that it is entirely possible for Modigliani to have achieved even greater artistic heights had he not been immured in, and destroyed by, his own self-indulgences. We can only speculate what he might have accomplished had he emerged intact from his self-destructive explorations.

Output
During his early years in Paris, Modigliani worked at a furious pace. He was constantly sketching, making as many as a hundred drawings a day. However, many of his works were lost - destroyed by him as inferior, left behind in his frequent changes of address, or given to girlfriends who did not keep them.[16]

He was first influenced by Henri de Toulouse-Lautrec, but around 1907 he became fascinated with the work of Paul Cézanne. Eventually he developed his own unique style, one that cannot be adequately categorized with other artists.

He met the first serious love of his life, Russian poet Anna Akhmatova, in 1910, when he was 26. They had studios in the same building, and although 21-year-old Anna was recently married, they began an affair.[citation needed] Tall (Modigliani was only 5 foot 5 inches) with dark hair (like Modigliani's), pale skin and grey-green eyes, she embodied Modigliani's aesthetic ideal and the pair became engrossed in each other. After a year, however, Anna returned to her husband.

Experiments with sculpture
Head (1911) Note the influence of Cambodian art in this sculpture.In 1909, Modigliani returned home to Livorno, sickly and tired from his wild lifestyle. Soon he was back in Paris, this time renting a studio in Montparnasse. He originally saw himself as a sculptor rather than a painter, and was encouraged to continue after Paul Guillaume, an ambitious young art dealer, took an interest in his work and introduced him to sculptor Constantin Brancusi.

Although a series of Modigliani's sculptures were exhibited in the Salon d'Automne of 1912, he abruptly abandoned sculpting and focused solely on his painting.

Question of influences
In Modigliani's art, there is evidence of the influence of primitive art from Africa and Cambodia which he may have seen in the Musée de l'Homme, but his stylisations are just as likely to have been the result of his being surrounded by Mediaeval sculpture during his studies in Northern Italy (there is no recorded information from Modigliani himself, as there is with Picasso and others, to confirm the contention that he was influenced by either ethnic or any other kind of sculpture). A possible interest in African masks seems to be evident in his portraits. In both his painting and sculpture, the sitters' faces resemble ancient Egyptian painting in their flat and masklike appearance, with distinctive almond eyes, pursed mouths, twisted noses, and elongated necks. However these same chacteristics are shared by Medieval European sculpture and painting.

Modigliani painted a series of portraits of contemporary artists and friends in Montparnasse: Chaim Soutine, Moise Kisling, Pablo Picasso, Diego Rivera, Marie "Marevna" Vorobyev-Stebeslka, Juan Gris, Max Jacob, Blaise Cendrars, and Jean Cocteau, all sat for stylized renditions.

At the outset of World War I, Modigliani tried to enlist in the army but was refused because of his poor health.

The war years
Madame Pompadour by ModiglianiKnown as Modì, which roughly translates as 'morbid' or 'moribund', by many Parisians, but as Dedo to his family and friends, Modigliani was a handsome man, and attracted much female attention.

Women came and went until Beatrice Hastings entered his life. She stayed with him for almost two years, was the subject for several of his portraits, including Madame Pompadour, and the object of much of his drunken wrath.[citation needed]

When the British painter Nina Hamnett arrived in Montparnasse in 1914, on her first evening there the smiling man at the next table in the café introduced himself as Modigliani; painter and Jew. They became great friends.

In 1916, Modigliani befriended the Polish poet and art dealer Leopold Zborovski and his wife Anna.

Jeanne Hébuterne
Jeanne Hébuterne in Red ShawlThe following summer, the Russian sculptor Chana Orloff introduced him to a beautiful 19-year-old art student named Jeanne Hébuterne who had posed for Foujita. From a conservative bourgeois background, Hébuterne was renounced by her devout Roman Catholic family for her liaison with the painter, whom they saw as little more than a debauched derelict, and, worse yet, a Jew. Despite her family's objections, soon they were living together, and although Hébuterne was the love of his life, their public scenes became more renowned than Modigliani's individual drunken exhibitions.[citation needed]

On December 3, 1917, Modigliani's first one-man exhibition opened at the Berthe Weill Gallery. The chief of the Paris police was scandalized by Modigliani's nudes and forced him to close the exhibition within a few hours after its opening.

After he and Hébuterne moved to Nice, she became pregnant and on November 29, 1918 gave birth to a daughter whom they named Jeanne (1918-1984).

Nice
During a trip to Nice, conceived and organized by Leopold Zborovski, Modigliani, Tsuguharu Foujita and other artists tried to sell their works to rich tourists. Modigliani managed to sell a few pictures but only for a few francs each. Despite this, during this time he produced most of the paintings that later became his most popular and valued works.

During his lifetime he sold a number of his works, but never for any great amount of money. What funds he did receive soon vanished for his habits.

In May of 1919 he returned to Paris, where, with Hébuterne and their daughter, he rented an apartment in the rue de la Grande Chaumière. While there, both Jeanne Hébuterne and Amedeo Modigliani painted portraits of each other, and of themselves.

Death
Last daysAlthough he continued to paint, Modigliani's health was deteriorating rapidly, and his alcohol-induced blackouts became more frequent.

In 1920, after not hearing from him for several days, his downstairs neighbor checked on the family and found Modigliani in bed delirious and holding onto Hébuterne who was nearly nine months pregnant. They summoned a doctor, but little could be done because Modigliani was dying of the then-incurable disease tubercular meningitis.

Modigliani died on January 24, 1920. There was an enormous funeral, attended by many from the artistic communities in Montmartre and Montparnasse.

Hébuterne was taken to her parents' home, where, inconsolable, she threw herself out of a fifth-floor window two days after Modigliani's death, killing herself and her unborn child. Modigliani was interred in Père Lachaise Cemetery. Hébuterne was buried at the Cimetière de Bagneux near Paris, and it was not until 1930 that her embittered family allowed her body to be moved to rest beside Modigliani.

Modigliani died penniless and destitute -- managing only one solo exhibition in his life and giving his work away in exchange for meals in restaurants. Had he lived through the 1920s when American buyers flooded Paris, his fortunes might well have changed. Since his death his reputation has soared. Nine novels, a play, a documentary and three feature films have been devoted to his life.

Amedeo Modigliani
Amedeo Modigliani at Artprice. To look at auction records, find Modigliani's works in upcoming auctions, check price levels and indexes for his works, read his biography and view his signature, access the Artprice database.

Amedeo Modigliani, one of the most popular artists of the 20th century, was born on July 12, 1884 into the family of Flaminio and Eugenia Modigliani, in Livorno (Leghorn), Tuscany. He was the forth and the youngest child in the family, which belonged to the secularized Jewish bourgeoisie. By the time Amedeo was born, the family business was in down, to go bankrupt some years later. Eugenia Modigliani, Amedeo’s mother, came from France. To contribute to the family income she gave private lessons and made translations. It was she who liked to create myths around the family and encouraged this trait in her younger son.

The attack of typhoid in 1898 was a turning point in Modigliani’s life. After recovering he was allowed to drop school and start to take lessons in drawing and painting at the Art Academy in Livorno. By 1900, his health condition aggravated, he contracted tuberculosis and spent the winter of 1900/01 in Naples, on Capri and in Rome. In 1902, Modigliani enrolled in the Scuola libera di Nudo (Free School of Nude Studies) in Florence. He visited Florence’s museums and churches and studied the art of the Renaissance, which he learned to admire. A year later Modigliani moved to Venice, where he enrolled in the Instituto di Belle Arti di Venezia and continued the self-study of old masters. It is in Venice that he first tried hashish. Two years later Modigliani went to Paris. He took life-drawing classes at the Académie Colarossi and befriended many colleagues from all over the world. Despite his poor health, he participated in the debauched life of the artists on Montmartre. The German painter Ludwig Meidner described him in the following way, “Our Modigliani, or ‘Modi’ as he was called – was a characteristic and, at the same time, highly talented representative of Bohemian Montmartre; he was probably even its last true Bohemian”.

In 1907, Modigliani got his first patron – the young medical doctor Paul Alexandre (Portrait of Paul Alexandre Against a Green Background), who bought paintings and drawings from Modigliani and got him commissions for portraits. Thus, the painting The Amazon (1909) - was a commission from the Baroness Marguerite de Hasse de Villers, which she made on Dr. Alexandre’s recommendations. But the sitter was so infuriated with the finished portrait that refused to take it and Dr. Alexandre bought it.

Through Dr. Alexandre (in 1909) Modigliani made the acquaintance of the Romanian sculptor Constantin Brancusi, under the influence of whom he switched to stone sculpture, which prevailed over his painting for some time. One of the legends says that Modigliani stole the big blocks of stone for his sculptures from the surrounding construction sites and the railway sleepers, intended for the Métro, for his wooden heads. Modigliani never bothered to refute any gossip and fantasies concerning him.

In spring of 1910, Modigliani got acquainted with a young Russian poetess Anna Akhmatova. Their passionate love affair lasted till the August of 1911, when they parted never to meet again.

Modigliani’s sculptures were exhibited in the autumn Salon of 1912, some of them were even bought; but by 1914 the artist was again more interested in painting. In June of 1914, he met the talented and eccentric English woman, Béatrice Hastings, who had been a circus artist, a journalist, a poetess, a traveler, an art critic, and maybe tried other professions, of which we don’t know. Later she would write of him, “A complex character. A swine and a pearl. Met him in 1914 at a crémerie. I sat opposite him. Hashish and brandy. Not at all impressed. Didn’t know who he was. He looked ugly, ferocious and greedy. Met him again at the Café Rotonde. He was shaved and charming. Raised his cap with a pretty gesture, blushed and asked me to come and see his work. And I went. He always had a book in his pocket. Lautrémont’s Maldoror. The first oil painting was of Kisling. He had no respect for anyone except Picasso and Max Jacob. Detested Cocteau. Never completed anything good under the influence of hashish.” Béatrice became Modigliani’s mistress and preferred model for the next two years. Though her portraits can’t be called flattering, more vice versa – she’s shown round-faced, small-featured, with pursed lips and small empty eyes. Beatris Hastings. Madam Pompadour (Portrait of Beatrice Hastings).

In August of 1914, the First World War broke out. Modigliani wanted to enlist but was exempted from military service for health reasons. Paul Alexandre was enlisted, ending the contract between him and the artist. The art dealer Paul Guillaume offered Modigliani his support. In 1916, Modigliani befriended the Polish poet and art dealer Léopold Zborovski (1889-1932) and his wife Anna (Hanka), who would become his supportive friends. Modigliani painted them several times.

In April of 1917, Modigliani met the 19-year-old Jeanne Hébuterne (1898-1920), student of the Académie Colarossi; they started to live together. “She was gentle, shy, quiet and delicate. A little bit depressive”, the writer Charles-Albert Cingria characterized Jeanne. She became his major model until his death, he painted her no less than 25 times.

On December 3, 1917 Modigliani’s first one-man exhibition was opened at the Berthe Weill Gallery. Unfortunately the gallery was situated opposite a police station, the chief of which was scandalized by Modigliani’s nudes and forced him to close the exhibition within a few hours after its opening.

In spring of 1918, Modigliani and Jeanne left Paris, which was under the threat of occupation by Germans, and went for the southern coast. In Nice and its environments Modigliani produced most of the paintings that would later become his most popular and highest-priced works. On November 29, 1918 in Nice, Jeanne Hébuterne gave birth to a girl, who was recognized by Modigliani as his daughter. She was given the same Christian name as her mother.

At the end of May of 1919, Modigliani returned to Paris. After several successful exhibitions in England, English collectors started to buy his paintings. But by the end of the year Modigliani became seriously ill with tuberculosis. On January 24 1920 he died. On the following day the pregnant Jeanne Hébuterne committed suicide. They were buried together in the Père Lachaise cemetery. Their orphan daughter Jeanne (1918-1984) was adopted by Modigliani’s sister in Florence; later she would write an important biography of her father Modigliani: Man and Myth.