an early profile: RE, no. 2.
“sulky little face”: JM, p. 45.
“cool purposefulness”: Alfred Werner, Modigliani the Sculptor, p. xv.
“fairground stalls”: UM, p. 67.
“elegantly stylized figurines”: SCH, p. 186.
“magical objects”: RE, p. 24.
the protective mask: PL, p. 251.
“majesty and greatness”: Modigliani the Sculptor, pp. xxiv–xxv.
“an endless whole”: Hugh Honour and John Fleming, The Visual Arts: A History, p. 567.
He was looking: UM, p. 65.
“It was characteristic”: SCH, p. 196.
“Our enquiries”: SII interview.
“I can see him”: Modigliani the Sculptor, p. xxiii.
“affected me deeply”: Idem, p. xviii.
“He seems very well”: Dated July 3, 1909.
“one slash of the scissors”: JM, p. 48.
“I don’t give a hoot”: Charles Douglas, Artist Quarter, p. 124.
all expenses paid: Idem, p. 125.
at Romiti’s atelier: PAR, p. 130.
“a divine day”: UM, p. 95. On September 5, 1909.
“like a ghost”: Aldo Santini, Maledetto dai Livornesi, p. 78.
They had to be real: New York Times, July 26, 1984.
The sculptures were “treasures”: BTM, p. 76.
“It’s easy to be talented”: Idem.
powerful preparatory sketches: UM, pp. 433–36.
“the cool harmonies”: JM, p. 49.
Cézanne’s influence: SCH, p. 38.
“a costumed servant”: Vanni Scheiwiller, ed., Modigliani vivo, testimonianze inedite e rare, pp. 139–46.
“a legendary beauty”: New York Times, March 19, 2006.
“a sort of gloom”: Ronald Meyer, trans., Anna Akhmatova: My Half-Century, p. 77.
soft, relentless shower: Juliet Nicolson, The Perfect Summer, p. 183.
“the knock of his mallet”: Anna Akhmatova, p. 77.
Laure was appalled: JM, p. 50.
“He went out, reeling”: Stanley Kunitz, trans., Poems of Anna Akhmatova, p. 43.
“the tragic consequences”: Anna Akhmatova, pp. 76–83.
“For several years”: Modigliani the Sculptor, p. xxiii.
a curious motif: RE, p. 27.
the Endless Column: Pontus Hulten, Brancusi, p. 20.
“Was Modigliani the originator”: RE, p. 27.
“a frightened child”: SII, interview.
a sacred space: Modigliani the Sculptor, p. xii.
CHAPTER EIGHT · “WHAT I AM SEARCHING FOR”
Alexandre bought a balustrade: UM, p. 43.
“large red figures”: Idem, pp. 43–44.
“had a wide entrance”: André Salmon, Modigliani, A Memoir, p. 129.
“a flimsy affair”: Abel Warshawsky, Adventures with Colors and Brush, manuscript, Archives of American Art, p. III.
“the last great expansion”: Patrick Marnham, Dreaming with His Eyes Open, p. 87.
“Venir au café”: Idem; they could spend hours: Idem, p. 88.
the nearby ateliers: Kenneth E. Silver and Romy Golan, The Circle of Montparnasse, p. 69.
“—after death of course”: Written on May 18, 1910.
the flood spared Montparnasse: Adventures with Colors and Brush, p. xxxxi.
fed in soup kitchens: Nigel Gosling, The Adventurous World of Paris, 1900–1914, p. 161.
“the human character”: Michael Holroyd, Augustus John, p. 349.
“considerable courage”: Adventures with Colors and Brush, p. xxv.
a great joke: Artist Quarter, p. 50.
“smells of death”: CR, p. 157.
unanswered letters: The Adventurous World of Paris, 1900–1914, p. 162.
“any mythological means”: Meryle Secrest, Salvador Dalí, p. 124.
“boredom and poverty”: SE, pp. 342–43; “endings of generations”: p. 343.
“Beauty must be a good”: Adam Kirsch, New Yorker, July 14 2008, p. 94.
years as a sculptor: UM, p. 106.
“Only Cardoso’s”: JM, p. 58.
around the room: June Rose, Modigliani, the Pure Bohemian, pp. 91–92.
paid in installments: Nina Hamnett, Laughing Torso, p. 59.
three willing subjects: Sisley Huddleston, Back to Montparnasse, p. 58.
“drawing ceaselessly”: PAR, p. 270.
“His working method”: Conrad Moricand, Quand le diable l’importe, souvenirs 1888–1935, manuscript, p. 100.
“I can see him”: SCH, p. 204.
“I only own one”: Cocteau, Modigliani, no pagination.
it was finally sold: Francis Steegmuller, Cocteau, p. 150 note.
“a colour photograph”: Jeanine Warnod, La Ruche and Montparnasse, p. 84.
“At that period”: A Memoir, Modigliani, André Salmon, p. 129.
“[H]e loved women”: Modigliani, the Pure Bohemian, p. 86.
“all charm”: Marevna, Life with the Painters of La Ruche, p. 18.
“So little did he value”: Artist Quarter, p. 197.
Her husband collapses: Idem.
considered himself a Socialist: Life with the Painters of La Ruche, p. 18.
“There shines upon”: Francis Carco, The Last Bohemia, p. 121.
in a gutter: Robert Coughlan, The Wine of Genius, pp. 45–46.
“Take the painters”: SCH, p. 193.
acutely uncomfortable: Artist Quarter, p. 89.
“a diseased liver”: Life with the Painters of La Ruche, p. 17.
salvaged from the Women’s Pavilion: The Circle of Montparnasse, p. 25.
“His clothes”: Life with the Painters of La Ruche, p. 19.
“He is small”: Diary of an Art Dealer, René Gimpel, pp. 309–310.
sensitive, introspective: Restellini catalog.
“He gave me confidence”: SCH, p. 201.
exhibition amply demonstrated: “Soutine,” Pinacothèque de Paris, 10 October 2007–27 January 2008, curated by Marc Restellini.
“Everything dances”: SII, p. 231.
“poetic beauty”: The Circle of Montparnasse, p. 31.
“Greco-Roman”: BTM, p. 86.
berating a group of Royalists: Artist Quarter, p. 88.
wearing a beard: UM, p. 92.
“I carry no religion”: Modigliani, the Pure Bohemian, p. 132.
endless discussions: C. R. W. Nevinson, Paint and Prejudice, p. 53.
prophesies of Nostradamus: PAR, p. 258.
“Like all Italians”: Modigliani vivo, testimonianze inedite e rare, pp. 63–68.
He could have stumbled” C. G. Jung, Collected Works, vol. VIII, p. 427.
“a vulgar fantasy”: PAR, p. 81.
“Table-turning”: UM, pp. 120–21.
“he was a medium”: Artist Quarter, p. 227.
“in open rebellion”: UM, p. 91.
“the mind of the Lord”: RE, p. 22.
“the secret truth”: Idem; “an extremely radical philosophical conception”: Idem.
“Jean was nursed”: UM, p. 82.
unconscious beside a block: Modigliani, the Pure Bohemian, p. 90; he took up a collection: Idem.
spitting up blood: Artist Quarter, p. 203.
“[H]e looked up”: PLU, p. 206.
CHAPTER NINE · MALDOROR
not given a drawing: Aldo Santini, Maledetto dai Livornesi, pp. 8–9.
rampant head lice: SII, p. 214.
a single head: UM, p. 104.
“a sane health”: Artist Quarter, p. 124.
“dazzling light”: letter dated April 23, 1913; UM, p. 104.
phase of sculpture ending: UM, p. 106.
“an angel with a grave face”: UM, p. 109.
Jean Alexandre died: June 8, 1913.
“Just as the snake”: UM, p. 92.
unique and universal: UM, p. 93.
“the Red Elixir”: UM, p. 92; resurrection after death: Idem; “Aour!”: Idem; “the Great Work”: Idem.
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“when I am consumed”: PLU, p. 70.
“disguised as a workman”: SI, p. 222.
“a wild but frozen sea”: SI, p. 221.
“like so many white horses”: SCH, p. 205.
“one would have thought”: SI, p. 221.
as if he had drowned: SI, idem.
“Zadkine, at this period”: Artist Quarter, p. 209.
“His only response”: SI, p. 222.
“a loan of three francs”: SI, p. 221.
“the heroic period”: Meyer Schapiro, Modern Art, p. 138; “About 1913”: Idem.
“the most remarkable”: The Yale Dictionary of Art and Artists, p. 98.
no Modigliani heads: BTM, p. 96.
“Little by little”: SI, p. 233.
“bathing in the dirt”: SCH, p. 205.
a sculpted stone head: Associated Press, June 14, 2010.
“There is in the corridor”: SCH, p. 189.
“At that time”: Fernande Olivier, Loving Picasso, p. 195.
a bowl of macaroni: Artist Quarter, p. 85.
“reduces her face”: RE, p. 63.
Picasso as a visionary: RE, p. 210.
“an ironic comment”: RE, p. 72.
he would always reply: SI, p. 220.
the two would never meet: SII, interview.
“I’m a Jew”: HOM, p. 14.
the urge to obliterate: John Richardson, A Life of Picasso, vol. 3, p. 74.
“like an old monkey”: Kenneth Clark, The Other Half, pp. 71–72.
the terrible shadow: PAR, p. 47.
the leading cause of death: David S. Barnes, The Making of a Social Disease, p. 13.
“a national scourge”: Idem.
“Fleeing to the countryside”: Idem, p. 92.
“îlots insalubres”: Colin Jones, Paris, Biography of a City, p. 417.
Everyone else’s health was at risk: The Making of a Social Disease, p. 105; fumes from hot tar: Idem, p. 99.
“a fawn coloured mixture”: PLU, p. 107.
“It’s very strange”: Adolphe Basler, Modigliani, p. 12.
“a perfect nuisance”: Nina Hamnett, Laughing Torso, p. 49.
“He was the scourge”: SCH, p. 185.
“I’m done for!”: Artist Quarter, p. 203.
“emotional and intellectual”: René and Jean Dubos, The White Plague, p. 61; his mind was “beating”: Idem; “a butterfly within”: Idem, p. 62; “a wonderful Indian”: Idem, p. 61.
“artistic expression”: Idem, p. 63.
also contained a dining room: SI, p. 239.
“a paid worker”: PAR, p. 291.
“the arcane depths”: A Life of Picasso, vol. 1, p. 203.
“a neighborhood dominated”: RE, p. 169.
curtly said he did not: Artist Quarter, p. 200.
he did paint “a bit”: June Rose, Modigliani, the Pure Bohemian, p. 113.
“Because he was very poor”: Paul Guillaume, Les Arts à Paris, November 1920, no pagination.
“crazily irritable”: Artist Quarter, p. 201.
“depression or indolence”: PLU, p. 129; “always in extreme”: Idem, p. 241.
“Shackled and oppressed”: Sheila M. Rothman, Living in the Shadow of Death, p. 30.
“point of delirium”: SI, p. 200.
“furious and unexpected”: Rémy de Gourmont, quoted in Dalí catalog, Philadelphia Museum of Art, February–May 2005, p. 211.
“a demonic figure”: Ronald Meyer, ed., Anna Akhmatova: My Half-Century, p. 366.
“extraordinary intuition”: MAL, p. 6; “a pale complexion”: Idem, pp. 268–69.
“Here lies a youth”: MAL, p. 33.
“fits of sleeplessness”: MAL, pp. 63–64; “who seemed not”: Idem, p. 76.
“a breathing corpse”: Idem, p. 169.
saved from death by Magnelli: Modigliani vivo, testimonianze inedite e rare, pp. 103–05.
CHAPTER TEN · BEATRICE
He might be “a pearl”: SI, p. 267.
first meeting with Modigliani: She wrote on September 17, 1936.
He was “fishing”: MP, “On the Boulevard Edgar Quinet,” p. 207.
They met again: NA, June 14, 1914.
listening in amazement: Ambrogio Ceroni, “Les Souvenirs de Lunia Czechowska,” Amedeo Modigliani, Peintre, p. 21.
jealous and possessive: BAR, p. 208.
“a long tunnel”: As quoted in Nigel Gosling, The Adventurous World of Paris, 1900–1914, p. 230; the last civilian train: Idem, p. 231.
Parisian males would be conscripted: Colin Jones, Paris, Biography of a City, p. 435.
“two rooms and real running water”: GRA, p. 276; “never to begin”: Idem.
“surrounded by a gang”: John Richardson, A Life of Picasso, vol. 2, p. 368.
“Much laughter”: NA, May 28, 1914.
shot the editor: The Adventurous World of Paris, 1900–1914, p. 221.
“[t]he romantic world”: NA, June 18, 1914.
“No wonder he is”: NA, July 9, 1914.
“he abducted her”: SCH, p. 189.
“wicked genius”: Idem, p. 194.
Guillaume’s contradictory testimony: Les Arts à Paris, November 1920, no pagination.
“it isn’t all gay”: NA, June 11, 1914.
“don’t go!’ ”: NA, July 16, 1914.
“Women should have”: GRA, p. 296.
“realising their own images”: Kenneth Clark, The Other Half, p. 72.
“He was thus a target”: Marta Petricioli and Donatella Cherubini, eds., Pour la Paix en Europe, p. 310; “[W]e are witnessing”: Idem.
a matter of days: GRA, p. 289.
“Many artisans’ shops”: Paris: Biography of a City, pp. 435–39.
“I managed to change”: GRA, p. 296; “there isn’t a quarter”: Idem, p. 297; “This morning very little”: GRA, p. 298.
“People vanish”: GRA, p. 301; “The first effect”: Idem, p. 302.
“all over the corridors”: Idem, p. 302; “lost each other”: Idem, p. 305.
“we are saved!”: NA, September 10, 1914.
“all wet and muddy”: GRA, p. 300; “sandwiches and cigarettes”: Idem, p. 308.
“I routed out”: NA, February 11, 1915.
“a state of culture”: Idem.
Poiret began buying: WAY, pp. 176–77.
“the broken and choppy”: Flavio Fergonzi, The Mattioli Collection, p. 260.
“My regiment was”: UM, p. 47.
lost an arm: Life with the Painters of La Ruche, p. 55.
briefly mobilized: Colette Giraudon, Paul Guillaume et les peintres du XXe siècle, p. 29.
“The wartime lack”: Kenneth E. Silver and Romy Golan, The Circle of Montparnasse, p. 36.
“Just about every Montparnassian”: SCH, p. 186.
“Where else could we go?”: Marevna, Life with the Painters of La Ruche, pp. 36–37.
“old and short and solid”: Frederick S. Wight, “Recollections of Modigliani by Those who Knew Him,” Italian Quarterly, 1958, p. 41.
“with odds and ends”: Billy Klüver and Julie Martin, Kiki’s Paris, p. 71.
a “tiny, bandy-legged”: Life with the Painters of La Ruche, pp. 60–61.
Quatz’ Arts ball: GRA, pp. 311–12; André Salmon, Modigliani: A Memoir, pp. 266–74.
basket of ducklings: GRA, p. 313.
“I look with interest”: Kiki’s Paris, p. 222.
slumming it: The Circle of Montparnasse, p. 74.
Kisling gave advice: TRIB, February 17, 1964.
“at least ten thousand”: Idem.
a small fortune: KIS, p. 86.
five servants and own two American cars: Interview with Jean Kisling.
a very bad painter: René Gimpel, Diary of an Art Dealer, p. 349.
“[t]he axis around which”: Kiki’s Paris, p. 162; “How was I able”: Idem, p. 236.
“I want life to be beautiful”: Kiki’s Paris, p. 236.
“I’m marrying the daughter”: SI, p. 386.
“He rush
ed to…‘My bridal linen!’ ”: SCH, p. 200.
out of the gutter: KIS, pp. 105–07.
It was all too sad: NA, November 12, 1914; a few Zeppelins. Idem.
“Virgin Mary”: NA, November 5, 1914.
“formal grace”: SCH, p. 31; “series of major portraits”: Idem, p. 34.
time to bury him: NA, November 5, 1914.
CHAPTER ELEVEN · “A STONY SILENCE”
“only the fittest”: NA, December 17, 1914.
“until stray visitors”: NA, December 24, 1914.
brown and gloomy: NA, February 4, 1915.
“flags and flowers”: NA, May 6, 1915.
“almost photographic”: NA, January 28, 1915.
“the more dogmatic”: John Richardson, A Life of Picasso, vol. 2, p. 374.
“an old Catalan peasant”: Idem.
“the most unpleasant”: June Rose, Modigliani, the Pure Bohemian, p. 130.
“shut all shutters”: NA, January 28, 1915; “Nearly everyone”: Idem.
“Both love and work”: NA, December 19, 1916.
“half the population”: NA, May 20, 1915.
“Will he flower?”: Modigliani, the Pure Bohemian, p. 128.
“As to Laure”: Idem, p. 129.
“She, poor girl”: PAR, p. 44.
“a craving, violent”: Madame Six, GRA, p. 343.
“ ‘while the vogue lasts’ ”: GRA, p. 340.
“securing my peace”: GRA, p. 346.
“little psychic consequence”: NA, January 7, 1915.
“A figure cut out of”: Fiona MacCarthy, William Morris, pp. 229–30.
“cadaverous body”: René and Jean Dubos, The White Plague, pp. 56–57.
strange additional charm: Idem, p. 55.
hoped he would die of consumption: Idem, p. 53.
“a life so brief”: Idem, p. 53.
“glimpsing his mistress”: Artist Quarter, p. 97.
“severely afflicted”: The White Plague, p. 58.
“an indefinable expression”: Pierre Louis Duchartre, The Italian Comedy, p. 42.
“It is possible … to ask”: SCH, p. 33.
“immaculately dressed”: SCH, p. 197.
“For the masks were”: The Italian Comedy, p. 42.
“Secrecy [was]”: PL, p. 139.
“Not every family”: PL, p. 678 note.
“crystalline purity”: SCH, p. 195.
“his drawing developed”: Agnes Mongan, Modigliani—Drawings from the Collection of Stefa and Léon Brillouin, Fogg Art Museum, 1959, pp. 7–12.
“The figures are”: Frederick S. Wight, Modigliani Paintings and Drawings, Museum of Fine Arts, Boston, p. 18; “Cézanne’s whittling”: Idem, p. 16.
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