Even a year ago, “Modigliani: Unmasked” at New York City’s Jewish Museum would not have been as timely, though its pleasures would have been just as assured. A showcase of Italian-Sephardic Jewish Amedeo Modigliani’s work as a sculptor and a craftsman, it revels in his defiant embrace of outsider status, and reminds us that extraordinary creative work can arise despite – and to spite – repressive political climates.
In 1906, when Modigliani emigrated from his native Livorno, an Italian port town known as a safe enclave for Jews, France was beset by nationalist anti-Semitism. Because of his fluency in French and Latin good looks, he might have been able to assimilate as a Gentile. Instead, as the Museum’s curatorial notes report, he’d introduce himself by saying: “My name is Modigliani. I am Jewish.” This exhibition, amassed mostly from the collection of patron and dear friend Paul Alexandre, shows the “artist as a young outsider,” exploring non-Western art and unpacking accepted notions of beauty in rough drafts and sculpture as well as a handful of completed paintings made between 1906 and 1914. Continue Reading →