Amedeo Modigliani’s Reclining Nude (1917), oil on canvas, 60.6 × 92.7 cm, at The Metropolitan Museum of Art, New York, is part of the artist’s celebrated series of nudes painted in Paris between 1916 and 1919. Inspired by Renaissance and Academic traditions yet stripped of allegory, the work presents the nude directly, her elongated form filling the canvas. Creamy skin tones contrast with a deep red bed, emphasizing sensuality. First exhibited in 1917 to public scandal, the painting exemplifies Modigliani’s modern reinterpretation of the classical nude, combining timeless beauty with a bold, contemporary style.
Ratings / Reviews
Dimensions | Original: 60.6 cm × 92.7 cm, Small: 48.5 cm × 74.2 cm, Medium: 72.7 cm × 111.2 cm, Large: 84.8 cm × 129.8 cm |
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$276.00 – $584.00Price range: $276.00 through $584.00
Amedeo Modigliani’s Reclining Nude (1917) stands as one of the defining works of the artist’s mature period and a cornerstone of modern figurative painting. Executed in oil on canvas, the work measures 60.6 × 92.7 cm and is now in the collection of The Metropolitan Museum of Art, New York. Painted in Paris at the height of Modigliani’s creative activity, this composition belongs to the celebrated series of reclining nudes produced between 1916 and 1919.
The subject draws upon a long tradition of reclining female figures in European art, from Renaissance depictions of Venus to 19th-century Academic interpretations. However, Modigliani breaks decisively with historical convention by stripping the subject of mythological or allegorical pretexts. The nude is presented directly and provocatively, her body occupying the entire width of the canvas. Seen from above, the figure’s head, hands, and feet extend beyond the frame, intensifying the immediacy of the pose.
The model’s elongated proportions, softly curved contours, and sculptural modeling are hallmarks of Modigliani’s distinctive style. The creamy tones of her skin contrast strikingly with the deep red of the bed or couch, a chromatic choice that heightens the sensuality of the composition. The background is reduced to broad, dark planes, eliminating distractions and focusing the viewer’s attention on the figure.
Modigliani’s approach reflects both the influence of Italian Renaissance painting and his dialogue with contemporary artists. While echoes of Titian’s Venus of Urbino and Ingres’s odalisques are evident, the simplified forms and strong outlines also suggest affinities with the modernist treatment of the figure by Henri Matisse. The work’s stylization, combined with its emotional directness, aligns it with Expressionism, reflecting Modigliani’s interest in subjective interpretation over strict naturalism.
The Reclining Nude series was first exhibited at the Galerie Berthe Weill in Paris in December 1917. The display caused a sensation, with several works removed from the gallery window at the insistence of police due to their frank eroticism. The scandal cemented Modigliani’s reputation and established the series as some of the most daring and influential nudes of the 20th century.
Today, Reclining Nude remains a testament to Modigliani’s ability to reinterpret the classical nude for the modern era, uniting timeless sensuality with an unmistakably contemporary vision.