Henri Matisse — Portrait of Madame Matisse — The Green Stripe Print
1905
Illustrative frame preview.
National Gallery of Art, WashingtonOriginal work, 1917
← The collection
Amedeo Modigliani — Nude on a Blue Cushion Print
Modigliani sets a reclining figure against a deep blue cushion and warm surrounding tones. The long contours and simplified facial features give the portrait a clear rhythm across its horizontal format.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
$29.00
Delivery to the contiguous US and Washington, DC.
Paper, size & framing
Fine-art print on 200 gsm enhanced matte paper. Measurements are the paper dimensions, including the white border. Framing adds to the overall dimensions. The artwork keeps its approved composition within those margins. White, natural and dark wood frames are ready to hang with plexiglass.
About the artwork
Modigliani sets a reclining figure against a deep blue cushion and warm surrounding tones. The long contours and simplified facial features give the portrait a clear rhythm across its horizontal format.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
- Artist
- Amedeo Modigliani
- Artwork
- Amedeo Modigliani — Nude on a Blue Cushion Print
- Date of work
- 1917
- Museum collection
- National Gallery of Art, Washington
About Amedeo Modigliani
Italian · 1884–1920
Amedeo Modigliani was born in Livorno, Italy, in 1884. He moved to Paris in 1906, entering a city in which painters and sculptors were reconsidering how a figure could be represented. Portraits became central to his work, with simplified features and elongated forms giving his people a recognisable presence.
Sculpture was an important part of Modigliani’s practice. His carved heads explore reduced features and sustained vertical lines, while his paintings bring related questions into colour. The figure remains recognisable even when an eye, a nose or the outline of a face has been simplified. Painting and sculpture offer different encounters with that same attention to form.
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