Portrait of Jeanne Hebuterne, Sitting, 1918 Amedeo Modigliani (1884-1920)

We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Amedeo Modigliani also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting Portrait of Jeanne Hebuterne, Sitting is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

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The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

Her head inclines almost imperceptibly, as though following a private rhythm, the curve of her neck echoed by the supple sweep of her right arm resting across the ochre back of a capacious chair. Jeanne Hébuterne appears suspended between ease and vigilance: an aspiring artist captured in pale chemise, one hand propping her cheek, the other anchoring the composition at the picture’s lower edge. The eyes—twin almond pools left deliberately vacant—refuse to return our gaze, signalling interiority rather than likeness. Beneath the refined contour, flesh is rendered in planes that flutter from apricot to cool ivory, as if light were testing the warmth of skin.

Modigliani orchestrates a subtle drama of temperature. A cool, mottled ground of slaty blue and olive wraps the figure on three sides, but the curved expanse of the ochre upholstery glows like a hearth, absorbing and reflecting the sitter’s pallor. The white of the chemise is anything but neutral: it flickers with silvery greens, faint ochres, and milky greys, its fractured surface quietly activating the surrounding hues. This balanced exchange of heat and chill shapes the mood—at once intimate and remote, tender yet aloof.

The paint sits thin, occasionally scumbled, elsewhere laid in broad, translucent washes, allowing the weave of the canvas to whisper through. Edges are softened, erased, redrawn, so that drawing and colour maintain a delicate negotiation. Though the line of the shoulder appears effortless, it is the product of repeated adjustments, each stroke calibrating the tension between solidity and lyricism. The spareness of means—limited modelling, absence of detail—evokes the carved profiles Modigliani admired in African masks and in Brancusi’s sculpture, while the elongated hands and neck recall the stylised elegance of sixteenth-century Mannerism he had studied in Florence.

Compositionally the painting is asymmetrical yet poised. A vertical seam of background divides the picture plane, offsetting the languid diagonal formed by arm and torso. Negative space collects in lucid blocks: the triangular flare of the chemise anchors the lower half, while the golden curve of the chair counters the figure’s pale arc. The resulting geometry guides the eye in a gentle circuit, encouraging slow contemplation rather than narrative urgency.

Painted in 1918, amid the privations of wartime France and shortly before the couple’s return to Paris, the portrait crystallises a moment of fragile respite. Modigliani—an Italian Jew working in Montmartre—had absorbed the radical simplifications of Picasso and the archaic gravity of African sculpture, yet here those influences are tempered by an abiding reverence for Renaissance harmony. Jeanne, pregnant with their first child, becomes a conduit for these cross-currents, her presence both personal and emblematic of modernist exploration.

What lingers is a sensation of still, luminous melancholy. Modigliani neither flatters nor dissects; instead he distils. In the long oval face, attenuated limbs, and silent eyes, the artist offers a meditation on intimacy and distance, portraying not simply Jeanne Hébuterne but the elusive terrain of human consciousness.