Richard Brettell, François Forster-Hahn, Duncan Robinson, and Janis A. Tomlinson. \"Nineteenth- and Twentieth-Century European Drawings.\" Vol. 9 of The Robert Lehman Collection (New York, Metropolitan Museum of Art, 2002).
Richard Brettell, François Forster-Hahn, Duncan Robinson, and Janis A. Tomlinson. \"Nineteenth- and Twentieth-Century European Drawings.\" Vol. 9 of The Robert Lehman Collection (New York, Metropolitan Museum of Art, 2002).
Modigliani’s fascination with the female nude, as conveyed in numerous paintings and one surviving sculpture, also resulted in many drawings in various media, often coming from his imagination. Characterized by short, broken strokes, this graphite example, made on a sketchbook page, includes the artist’s prominent inscription, “Anadiomena.” This is an Italianization of the Greek “Anadyomene,” an epithet for the goddess Aphrodite (or Venus), meaning “she who emerges or rises” — an allusion to her legendary birth, fully grown, from the foam of the sea. Her pose is indebted to various Hellenistic sculptures of the so-called Crouching Venus type, which Modigliani could have seen in the Louvre or in various Italian collections prior to his move to Paris in 1906.
Laura M. Giles, Heather and Paul G. Haaga Jr., Class of 1970, Curator of Prints and Drawings, Princeton University Art Museum\n
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