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Tracing the Material History of MAC USP's Self-Portrait by Amedeo

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MUSEUS/DOSSIÊ Métodos interdisciplinares de análise em acervos museológicos Autorretrato de Amedeo Modigliani do acervo do MAC USP à luz de sua história material1 Tracing the material history of MAC USP’s Self-Portrait by Amedeo Modigliani http://dx.doi.org/10.1590/1982-02672019v27e11d1 ANA GONÇALVES MAGALHÃES2 1. Esta pesquisa foi realizada com apoio da https://orcid.org/0000-0002-2291-428X Fundação de Amparo à Pesquisa do Estado de São Universidade de São Paulo / São Paulo, SP, Brasil Paulo (FAPESP), dentro do Projeto Temático "Coletar, Identificar, Processar, MÁRCIA DE ALMEIDA RIZZUTTO3 Difundir. O ciclo curatorial e a produção de https://orcid.org/0000-0002-9779-0349 conhecimento" (Processo nº 2017/07366-1). Universidade de São Paulo / São Paulo, SP, Brasil 2. Professora doutora da Divisão de Pesquisa em 4 DALVA LÚCIA ARAÚJO DE FARIA Arte, Teoria e Crítica do Museu de Arte https://orcid.org/0000-0003-1889-6522 Contemporânea da Universidade de São Paulo Universidade de São Paulo / São Paulo, SP, Brasil (USP). Historiadora da arte, tendo atuado como coordenadora editorial da 5 PEDRO HERZILIO OTTONI VIVIANI DE CAMPOS Fundação Bienal de São Paulo. Membro do Comitê https://orcid.org/0000-0003-0022-9289 Brasileiro de História da Arte (CBHA). E-mail: Universidade de São Paulo / São Paulo, SP, Brasil <[email protected]> 3. Professora do Instituto de Física da USP. Coordenadora do “Núcleo de Pesquisa de Física RESUMO: Este artigo em duas partes (histórico e análise, seguida da parte de interpretação Aplicada ao Estudo do Patrimônio Artístico e dos dados obtidos por técnicas analíticas) apresenta um estudo da obra Autorretrato (1919, Histórico” (NAP-FAEPAH), óleo/tela, 100 x 65 cm) de Amedeo Modigliani, pertencente ao acervo do Museu de Arte possui especial interesse Contemporânea da Universidade de São Paulo (MAC USP). Através do cotejamento entre a em estudos de objetos do patrimônio cultural com documentação de procedência da obra, fontes críticas de abordagem da pintura de Modigli- análises não destrutivas ani, com as análises técnico-científicas físico-químicas e de imageamento, foi possível reavaliá- com metodologias física e ANAIS DO MUSEU PAULISTA São Paulo, Nova Série, vol. 27, 2019, p. 1-37. e11d1 1 química. (<http://www. la na articulação entre sua materialidade e sua composição, bem como lançar nova luz sobre usp.br/faepah/>). E-mail: <[email protected]>. sua recepção pela crítica dos anos 1950, quando ela chegou ao Brasil e circulou no contexto internacional por meio de publicações e exposições, já como parte de uma coleção brasileira. 4. Professora associada do Departamento de Química Fundamental do Instituto PALAVRAS-CHAVE: Amedeo Modigliani. Pintura moderna. História técnica da arte. Técnicas de Química da USP. Bacharel em Química, analíticas mestrado e doutorado em Química (Físico-Química) ABSTRACT: This two-part article (history and analysis, followed by the interpretation of data pela USP. E-mail: <dlafaria@ iq.usp.br>. obtained via analytical techniques) is a study of Amedeo Modigliani’s Self-Portrait (1919, oil/ canvas, 100 x 65 cm2), which belongs to the Museu de Arte Contemporânea of the Universi- 5. Bacharel em Física pela Universidade Estadual de dade de São Paulo (MAC USP). By collating documentation on the work’s provenance, critical Campinas (Unicamp), sources regarding Modigliani’s approach to painting, and technical-scientific (physicochemi- licenciado em Física pela Unicamp, Mestrado e cal and imaging) analyses, we were able to reassess it in light of the articulation between the doutorado em Física pela work’s materiality and composition. We also managed to throw new light on the work’s critical USP. E-mail: <pcampos@ usp.br>. reception in the 1950s, when it arrived in Brazil and received international exposure – at that time, already part of a Brazilian collection – by means of publications and exhibitions. KEYWORDS: Amedeo Modigliani. Modern painting. Technical history of art. Analytical techniques 2 ANAIS DO MUSEU PAULISTA – vol. 27, 2019. 6. Coquiot (1924, p. 104- Amedeo Modigliani (1884-1920) é daqueles artistas do primeiro 105). modernismo muito celebrados e popularizados na história da arte moderna. Tratado 7. Cf. Pogrebin; Reyburn dentro do ambiente da Escola de Paris, sem ter aderido a nenhum “ismo” das duas (2015). Trata-se da venda de seu “Nu deitado”, no primeiras décadas do século XX, o artista nascido no seio de uma família judaica Lote 8A, venda 3789 da de Livorno foi antes imortalizado em Paris, para depois conquistar a Itália. Apesar Christie’s, em Nova York, em 9 de novembro de 2015, de sua fama póstuma, os autores dedicados ao estudo de sua vida e obra sempre que atingiu preço recorde de valor diante de vendas enfatizaram sua miséria, assim como seu comportamento extremado e seus hábitos anteriores de pinturas do boêmios, que o levaram a ser designado como um “pintor maldito” desde muito artista. 6 cedo. Sua morte prematura, o suicídio de sua última mulher, a também pintora 8. Cf. Restellini (2002). Com relação ao problema de Jeanne Hébuterne (1898-1920), grávida, contribuíram para acentuar essa falsificação e atribuição de designação e transformá-lo em uma espécie de anti-herói modernista – o que, suas obras, isto se deve em grande medida à atuação talvez, tenha lhe garantido enorme celebridade, os preços exorbitantes que suas do crítico e arquivista 7 Christian Parisot. Cf. Cohen obras vêm alcançando desde sempre no mercado internacional, e o imperativo (2014). Durante décadas, de ter uma obra do artista em qualquer coleção de arte moderna. Parisot havia se beneficiado de seu estreito contato com a única filha do artista, A historiografia sobre sua vida e obra tem sido marcada por dois aspectos: Jeanne Modigliani, narrativas de sua vida pessoal, em que os testemunhos daqueles que conviveram recebendo dela plenos poderes para organização com Modigliani cumprem um papel seminal; e uma investigação constante de do fundo arquivístico de autenticação de suas obras.8 Outro elemento importante nessa historiografia é a Modigliani e criando o Istituto Modigliani, em ênfase nos estudos sobre seus retratos e seus nus femininos em pintura. Embora Roma (site: <www. istitutoamedeomodigliani. sejam de fato recorrentes em sua produção, esses gêneros parecem ser sempre it>, hoje com sede em tomados no diálogo necessário com a vida privada de Modigliani: seus amigos e Spoleto). Há pelo menos três autores que se suas relações intempestivas com as mulheres. Tende-se, de certa forma, a falar mais dedicaram a catalogar a obra do artista: Arthur do personagem Modigliani do que de suas pinturas. Afinal, o que sabemos sobre Pfannstiel (1956), Ambrogio o Modigliani pintor? E, mais particularmente, o que sabemos sobre seu Autorretrato Ceroni (1965) e Osvaldo Patani (1991). Adotamos (figura 1), hoje pertencente ao acervo do Museu de Arte Contemporânea da aqui a catalogação Patani, pois é o catálogo raisonné Universidade de São Paulo (MAC USP)? que o MAC USP tem em sua biblioteca. Para uma análise Este artigo pretende lançar luz sobre o único autorretrato em pintura de da evolução da catalogação Modigliani, a partir das análises técnico-científicas feitas entre 2017 e início de geral da obra do artista. Fraquelli, Ireson & King 2018, para que o MAC USP colaborasse com um novo estudo material do conjunto (2018, p. 189-195). de sua obra, levado a cabo por ocasião da exposição “Modigliani”, na Tate 9. Cf. Fraquelli & Ireson Modern, em Londres.9 Além daquilo que se pode inferir com os resultados dessas (2017) e Fraquelli, Ireson & King (2018). O projeto da análises, retomar-se-á a história de sua chegada ao Brasil. Ademais, pretende-se Tate Modern pretendeu atualizar o primeiro estudo contribuir para uma análise de Autorretrato cotejando-o com outros retratos feito sobre a materialidade realizados pelo artista em seus últimos anos de vida, levando-se em consideração das obras de Modigliani, empreendido pelo seu apreço por Cézanne retratista. Nesse sentido, os retratos de Leopold Zborowski, laboratório de pesquisas dos museus da França, no do próprio Modigliani, e Madame Cézanne em vermelho, do acervo do Museu início da década de 1980. de Arte de São Paulo (MASP), comparados ao Autorretrato de Modigliani, parecem Contensou & Marchesseau (1981, p. 20-47). contribuir para o entendimento que o ambiente do final dos anos 1940 e a década ANNALS OF MUSEU PAULISTA – vol. 27, 2019. 3 10. Caderno “Davos 1947” de 1950 tinha sobre sua obra – momento em que ele encontra abrigo em uma de Yolanda Penteado, Seção de Catalogação, MAC coleção brasileira, ao mesmo tempo em que circula em ao menos duas exposições USP. O pequeno caderno de anotações é a principal internacionais de revisão de sua obra. Em primeiro lugar, então, será analisada fonte de descrição das aquisições que Francisco sua chegada ao Brasil, para, depois, passar-se à sua análise, procurando Matarazzo Sobrinho fez entre 1946 e 1947, na Itália fundamentá-la na comparação com as obras aqui propostas e sua história material e na França, para o núcleo e os resultados das técnicas analíticas, apresentadas ao final deste artigo. inicial do acervo do antigo Museu de Arte Moderna de São Paulo (MAM), antes mesmo de sua fundação, em julho de 1948. Para uma PROCEDÊNCIA, ANÁLISE FORMAL E PRINCIPAIS EXPOSIÇÕES DE AUTORRETRATO análise da aquisição do conjunto de pinturas italianas, cf. Magalhães (2016). Em junho de 1947, Yolanda Penteado escreve em seu diário de viagem 11. Mostra di Modigliani – à Europa: “Modigliani comprado Milão ganhei presente aniversário”.10 A aprile maggio 1946 (1946, tavola 15). referência era ao Autorretrato, de Amedeo Modigliani. A obra havia sido 12. Sobre Jones Netter adquirida durante a primeira fase da campanha de compras que Francisco (1867-1946), como um dos Matarazzo Sobrinho realizou para constituir o núcleo inicial do acervo do Museu principais colecionadores de Modigliani da Paris dos de Arte Moderna de São Paulo (MAM).
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    dossier d’accompagnement Riccardo Gualino le magnifique Vie et œuvre d’un collectionneur— igure avant-gardiste des milieux artistiques, culturels et économiques, Riccardo Gualino (1879-1964) marque le paysage de la société italienne des 60 Fpremières années du XXe siècle. Profondément convaincu de la nécessité pour son pays de se libérer des traditions conservatrices par un dynamisme entrepreneurial, cet infatigable industriel n’aura de cesse de créer des entreprises dans des domaines variés, tout en jouant un rôle primordial dans la création et la diffusion de l’art de son temps. Accompagné de sa femme Cesarina, elle- même danseuse et peintre, Gualino joue un rôle de mécène et de collectionneur. Cette exposition retrace le parcours de sa vie dans laquelle art, entreprises et vie personnelle s’entremêlent inextricablement jusqu’à sa mort en 1964. Venturi et le collectionnisme En 1918, Gualino rencontre Lionello Venturi, historien de l’art spécialiste des primitifs italiens (artistes des XIIIe et XIVe siècles). Venturi éduque le regard du couple Gualino. Il les conseille dans la formation de leur collection. Paolo VENEZIANO (1290-1362) Né en 1290 d’une famille de peintres, Paolo Veneziano s’installe à Venise en 1335 et devient le peintre officiel de la République. Influencé par l’art byzantin et le raffinement précieux des icônes et des miniatures, il tend jusqu’à la fin de sa vie vers un style ornemental et typique des primitifs dont le travail à l’or évoque l’orfèvrerie. Faisant face à saint Jean l’Evangéliste, cette Vierge de Douleur se tenait sans doute à gauche de la peinture d’un Christ en croix, ici remplacé par un crucifix en bois du XIIe siècle.
  • Italian Painting in Between the Wars at MAC USP

    Italian Painting in Between the Wars at MAC USP

    MODERNIDADE LATINA Os Italianos e os Centros do Modernismo Latino-americano Classicism, Realism, Avant-Garde: Italian Painting In Between The Wars At MAC USP Ana Gonçalves Magalhães This paper is an extended version of that1 presented during the seminar in April 2013 and aims to reevaluate certain points considered fundamental to the research conducted up to the moment on the highly significant collection of Italian painting from the 1920s/40s at MAC USP. First of all, we shall search to contextualize the relations between Italy and Brazil during the modernist period. Secondly, we will reassess the place Italian modern art occupied on the interna- tional scene between the wars and immediately after the World War II —when the collection in question was formed. Lastly, we will reconsider the works assem- bled by São Paulo’s first museum of modern art (which now belong to MAC USP). With this research we have taken up anew a front begun by the museum’s first director, Walter Zanini, who went on to publish the first systematic study on Brazilian art during the 1930s and 40s, in which he sought to draw out this relationship with the Italian artistic milieu. His book, published in 1993, came out at a time when Brazilian art historiography was in the middle of some important studies on modernism in Brazil and its relationship with the Italian artistic milieu, works such as Annateresa Fabris’ 1994 Futurismo Paulista, on how Futurism was received in Brazil, and Tadeu Chiarelli’s first articles on the relationship between the Italian Novecento and the São Paulo painters.