| BAR | The Italians, Luigi Barzini, 1965. |
| BTM | Modigliani: Beyond the Myth, Mason Klein, ed., 2004. |
| CR | Modigliani: Les Femmes, les amis, l’oeuvre, Jean-Paul Crespelle, 1969. |
| FL | Le Figaro Littéraire, Saturday, May 17, 1958. |
| GE | Dietro La Facciata di un Combattente, Giuseppe Emanuele Modigliani, 1971. |
| GRA | Beatrice Hastings: A Literary Life, Stephen Gray, 2004. |
| HOM | “Homage à Modigliani,” Paris Montparnasse, August 1927. |
| JM | Modigliani: Man and Myth, Jeanne Modigliani, 1958. |
| KIS | Kisling, Claude de Voort, 1996. |
| MAL | Maldoror & the Complete Works of the Comte de Lautréamont, Alexis Lykiard, trans., 1994. |
| MP | Minnie Pinnikin, Beatrice Hastings, in manuscript, Lieberman Papers, Museum of Modern Art; in partial translation, Modigliani & the Artists of Montparnasse, Kenneth Wayne, 2002. |
| NA | The New Age, 1912–1938. |
| PAR | Modigliani: Biographie, Christian Parisot, 2000. |
| PL | A History of Private Life, vol. IV, Michelle Perrot, ed., 1990. |
| PLU | Posthumous Keats, Stanley Plumly, 2008. |
| QFC | Quest for Corvo, A. J. A. Symons, 1966. |
| RA | Modigliani and His Models, Royal Academy of Arts, 2006. |
| RE | Modigliani, the Melancholy Angel, Musée de Luxembourg, Marc Restellini, 2002. |
| SCH | Amedeo Modigliani, Werner Schmalenbach, 2005. |
| SE | Le Silence éternel, Marc Restellini, 2007. |
| SI | Modigliani: A Biography, Pierre Sichel, 1967. |
| SII | Interviews by John Olliver for Modigliani: A Biography, Sichel. |
| TRIB | “Montparnasse à l’Époque Heroïque,” Émile Lejeune, Tribune de Genève, 1964. |
| UM | The Unknown Modigliani: Drawings from the Collection of Paul Alexandre, Noël Alexandre, 1994. |
| VEN | Modigliani in Venice, Between Leghorn and Paris, Christian Parisot, ed., 2005. |
| WAY | Modigliani and the Artists of Montparnasse, Kenneth Wayne, 2002. |
“Modigliani manages … to convey”: Kenneth E. Silver and Romy Golan, The Circle of Montparnasse, p. 31.
the religious power: RA, p. 140.
“this young Tuscan”: RA, p. 20.
“something like a curse”: RA, p. 23.
“The little Jew”: RA, p. 23.
“so many inaccuracies”: SII, p. 67.
“One marvels”: “the truth held”: CR, pp. 11–12.
synonymous with eccentricity: SE, p. 346.
“tormented garret dweller”: New York Times, March 1, 1961.
“extremely vulgar”: Ronald Meyer, trans., Anna Akhmatova: My Half-Century, p. 83.
“art historical mindset”: BTM, p. 81.
“Drunken, ranting and stoned”: Guardian, July 4, 2006.
“the most mythologized”: RA, p. 19.
“those compound faces”: QFC, p. 9.
“Les démons du hasard selon
Le chant du firmament nous mènent
A sons perdus leurs violons
Font danser notre race humaine
Sur la descente à reculons.”
—Alcools: Poèmes 1898–1913, p. 36.
“Frustration and poverty”: QFC, p. 31.
“self-tortured and defeated”: QFC, idem.
“a built-in, shock-proof”: The Writer’s Quotation Book, p. 55.
their partner was another Englishman: RA, p. 66.
“a little foolish”: PAR, p. 10.
wearing only a shirt: PAR, pp. 7–8.
confessed to the crime: PAR, p. 9.
a gentle manner: PAR, p. 10.
pervasive sadness: PAR, p. 15.
waves of cholera: Encyclopædia Britannica, p. 617.
“human waste disposal”: PL, p. 372.
the cumulative effects: In The Big Necessity, Rose George wrote that cholera victims who do not have access to clean water or salts, as is still common, are subject to stomach and muscle cramps, can lose up to 30 percent of their body weight within hours, will turn blue, their eyes will film over, and death follows.
life expectancy in 1850: PL, p. 331.
“a personal remedy”: PAR, p. 20.
“so many figs”: PAR, p. 20.
their miracle worker: PAR, p. 20.
“article of faith”: PAR, p. 20.
“a magical world”: Meryle Secrest, Being Bernard Berenson, p. 275.
“phlegmatic temperaments”: UM, p. 28.
“to enjoy life”: UM, p. 28.
but ran an agency: JM, pp. 4–5.
managing a lead mine: Adrio Bocci, Bulletin of the Orobic Mineral Group.
“crawling” with servants: PAR, p. 15.
“en grand tralala”: PAR, p. 15.
His authority was absolute: PAR, p. 16.
a school for peasants: VEN, pp. 27–8.
“intellectual stupor”: PAR, p. 21.
both knew she was dying: PAR, p. 21.
“all the more agonizing”: PAR, p. 21.
“a persecution complex”: SI, p. 29.
equally unbalanced: SI, p. 55.
“give his property”: BAR, p. 201.
“early morning conversations!”: PAR, p. 22.
She was pregnant again: PAR, p. 27.
in the year 5644: PAR, p. 52.
“tears and anguish”: PAR, p. 27.
was very cultured: PAR, p. 67.
“her gruff, but faithful”: GE, p. 120, September 24, 1928. Flaminio Modigliani died on September 21, 1928, and is buried in the Jewish Cemetery in Livorno.
“solitary by nature”: PAR, p. 25.
“to get rid of you”: PAR, p. 26.
“she is happier”: PAR, p. 29.
“A bit spoiled”: PAR, p. 29.
They “played freely”: PL, p. 204.
“exchanges of affection”: PL, p. 208.
“my deepest gratitude”: PAR, pp. 32–33.
“an embittered, irascible”: JM, pp. 13–14.
“the best merchandise”: Leo Rosten, The Joys of Yiddish, p. 405.
“He understood me”: PAR, p. 13.
“a breeze of fantasy”: JM, p. 15.
“How many impossible”: BAR, pp. 84–85.
“The last thing”: Idem, p. 88.
Her essays were good enough: June Rose, Modigliani: The Pure Bohemian, p. 25.
Caught telling a joke: Photograph in VEN, p. 40.
“Perhaps an artist?”: PAR, p. 59.
individual curricula: VEN, p. 39.
report card is blank: PAR, p. 56.
“a terrible fright”: PAR, p. 59, on April 20, 1896.
“an impossible ideal”: PAR, p. 39, on May 26, 1897.
“My poor father”: PAR, p. 39, on April 20, 1896.
passed his bar mitzvah: PAR, p. 40, on August 10, 1897.
already an artist: PAR, p. 42, on July 17, 1896.
“a private tragedy”: PL, p. 160.
“arbitrary decisions”: PL, p. 160.
“Fierce Wish”: Quoted in Modigliani, p. 22.
son of workers: GE, pp. 25–29, no date.
he was a windbag: GE to Margherita Modigliani in 1896, p. 24.
“We don’t know why”: PAR, p. 42, on June 30, 1898.
“mad with fear”: PAR, p. 42.
offering to pay: SI, p. 37.
symptoms of typhoid: Encyclopædia Britannica, pp. 646–47.
He spoke of Segantini: Giovanni Segantini (1858–1899) was an Italian painter of Alpine landscapes and Neo-Impressionism; Peter and Linda Murray, Art & Artists, p. 381.
“ ‘When you are cured’ ”: UM, p. 29.
lessons had begun: SI, p. 37.
“he will neglect”: PAR, p. 42.
“The sick boy”: UM, p. 29.
back on his feet: PAR, p. 62, December 3, 1898.
We met in a desperate cellar
In the days of our ill-dressed youth
And smoked and talked until sunrise
Caught up in those words—those words
Whose meaning will have to be changed;
Solemn young men and erroneous.
—Poem read at the marriage of André Salmon. Guillaume Apollinaire, Alcools: Poèmes 1898–1913, p. 91.
in the via delle Siepe: PAR, p. 65.
“the sight of laundry”: Silvestra Bietoletti, The Macchiaioli, pp. 10–26.
“Dedo was doing a charcoal drawing”: JM, p. 24.
small and sickly: PAR, p. 67.
“introverted and very shy”: PAR, p. 67.
his anger was unpredictable: PAR, p. 67.
“his favorite Old Masters”: PAR, p. 68.
“a dead-end art”: John Russell, Modigliani, Arts Council of Great Britain, p. 5.
discovered a signature: VEN, p. 34.
“a look of agony”: Kenneth Clark, Another Part of the Wood, pp. 181–82.
willing chambermaids: UM, pp. 29–30.
“shiftless and idle”: UM, pp. 29–30.
“The tone of voice”: JM, p. xiii.
“he was distinguished”: PAR, p. 69.
“draws very well”: JM, pp. 20–21.
as a punishment: UM, p. 30.
half the population: René and Jean Dubos, The White Plague, p. 9.
“started a suit”: The White Plague, pp. 43–44.
“[a] mouse gnawing”: The White Plague, p. 40.
“delicate in modeling”: Thomas M. Daniel, Captain of Death, p. 34.
“wonderful aesthetic hair”: The White Plague, p. 57.
dead of consumption: The White Plague, p. 40.
“Detach the delicate”: The White Plague, p. 247.
“Since early tuberculosis”: Encyclopædia Britannica, p. 75.
“Different phenomena”: Sheila M. Rothman, Living in the Shadow of Death, pp. 16–17.
“the hemorrhage returned”: Living in the Shadow of Death, p. 29.
“Father said again”: Sue Prideaux, Edvard Munch, p. 25.
“its blood-red banner”: Edvard Munch, p. 24.
“I cough and cough”: John Middleton Murry, ed., Journal of Katherine Mansfield, p. 155.
did not come until World War II: Dr. Ann Medinger. Tuberculosis is still the second largest cause of death by infection, with 1.6 million deaths a year (the first is AIDS). Worldwide, a third of the current population is believed to be infected, although most cases are not full-blown. (Harvard Magazine, March–April 2009, p. 23).
“a violent hemorrhage”: UM, p. 30.
there was no treatment: Dr. Ann Medinger; Captain of Death, p. 197.
“gazing ‘on and on’ ”: Thomas Mann, The Magic Mountain, p. 189.
He was gaining weight: UM, p. 30.
he would sit transfixed: Idem.
He was fascinated: JM, pp. 188–89.
“You must paint”: UM, p. 31.
“the ‘beatific vision’ ”: New Yorker, April 20, 2009.
Ghiglia was the one: SI, p. 48.
“as if in a mystic garden”: SI, p. 51.
“a springlike place”: April 1, 1901; SI, pp. 51–52.
“the beauties of Rome”: SI, p. 53.
“I will try”: SI, p. 54.
“a fertile stream”: SI, p. 53.
“strong forces”: SI, p. 53.
“flies to wanton boys”: Shakespeare, King Lear, Act IV, Scene I.
“ ‘Why me?’ ”: Edvard Munch, p. 26.
“He fights for”: Walter Kaufmann, ed., The Portable Nietzsche, p. 53.
“The ordinary man”: Meryle Secrest, Frank Lloyd Wright, p. 212.
“People like us”: SI, p. 55.
“I am a wild bird”: Frank Lloyd Wright, p. 213.
“maximum creative power”: SI, p. 56.
“facing the risks”: SI, p. 53.
“a button in your pants”: PAR, p. 68.
“would always turn back”: Aldo Santini, Maledetto dai Livornesi, p. 58.
“It greatly amused him”: SCH, p. 197.
“A public man”: PL, p. 252.
“Watch him promenade”: BAR, p. 208.
its short average life span: PL, p. 331.
“without any complications”: UM, p. 31.
Margherita was not pleased: UM, idem.
Modigliani moved to Venice: BTM, p. 190.
daily museum visits: BTM, idem.
“looked older”: SI, p. 58.
“Painting only faute de mieux”: JM, p. 31.
“oblique placing of the heads”: JM, idem.
“I can’t see yet”: PAR, p. 44.
“eating fried fish”: SCH, p. 20.
“He would spend”: SCH, p. 197.
“a vague abstract”: PAR, p. 82.
“Venice, head of Medusa”: SII, p. 56.
“He immediately began”: PAR, p. 82.
“he could never be happy”: February 1905, PAR, p. 43.
a small allowance: PAR, p. 79.
His sister also believed: VEN, p. 44.
a last-ditch effort: SCH, p. 197.
“The gesture grew”: Richard Ellmann, Oscar Wilde, p. 504.
“a strange fatality”: Idem, p. 92.
“I am a reflection”: April 20, 1896, PAR, p. 37.
“What a dream”: Patrice Higonnet, Paris, pp. 244–45.
“too gorgeously hot”: John Dos Passos, The Fourteenth Chronicle, p. 250.
gasoline and roasting chestnuts: November 24, 1908, Abel Warshawsky, Adventures with Colors and Brush, manuscript, Archives of American Art, p. viii.
arriving in the autumn: SII, interview, p. 1.
“atrociously delightful”: The Fourteenth Chronicle, p. 102.
a city of art: Brian N. Morton, Americans in Paris, p. 11.
Cézanne had just died: Alistair Horne, Seven Ages of Paris, p. 297.
“there were more artists”: Colin Jones, Paris, Biography of a City, p. 426.
ruined all sense of form: Adventures with Colors and Brush, p. III.
“Toutes les rues”: “All streets are tributaries / when you love this river in which all the blood of Paris flows,” Philippe Soupault, quoted in Paris, p. 389.
“they had just disembarked”: Marevna, Life with the Painters of La Ruche, p. 28.
“The acrid smell”: Americans in Paris, p. 70.
looking for the next style: Adventures with Colors and Brush, pp. xxxii–xxxiii.
very small portraits: SCH, p. 197.
a blond washerwoman: PAR, 110.
“He drew from life”: SCH, p. 198.
“a certain smile”: PAR, p. 97.
He admired Whistler: SCH, p. 197.
Modigliani’s search for style: SCH, pp. 200–01.
“our conversations”: SII, interview, p. 1.
“From the rue Lepic”: SCH, p. 201.
“wretched huts”: PL, pp. 395–96.
“a vast space”: PAR, p. 101.
“wild disorder”: Charles Douglas, Artist Quarter, pp. 84–85.
“a tumbledown shack”; “For four sous”: SCH, p. 197.
“under the lamps”: Francis Carco, The Last Bohemia, pp. 104, 108.
Picasso’s mural: Philippe Jullian, Montmartre, p. 173.
“his special cocktail”: Idem.
“too good to be true”: John Richardson, A Life of Picasso, vol. 1, p. 374.
the café’s charm: The Last Bohemia, p. 108.
“full of imagination”: SCH, p. 197.
“freshness of perception”: SCH, p. 191.
“pure Roman profile”: SCH, p. 204.
“full of interest”: SCH, p. 112.
a rash of early imitators: Charles Douglas, Artist Quarter, p. 46.
Clesinger’s outfit: Nigel Gosling, Nadar, p. 165.
the suit of faded velvet: PAR, p. 288.
“colour harmonies”: Artist Quarter, p. 112.
“a gentleman and a parvenu”: PAR, p. 290.
“our aristocrat”: PAR, p. 274.
living in Montmartre: PAR, p. 97.
“[T]he huge building”: Montmartre, p. 163.
“so jerry-built”: A Life of Picasso, vol. 1, p. 298.
“the artistic manner”: Montmartre, p. 34.
“a society of friends”: Idem.
sometime in 1907: Artist Quarter, p. 89.
“your rotten junk”: Idem, p. 90.
“spells of fasting”: Nigel Gosling, The Adventurous World of Paris 1900–1914, p. 59.
“enough left for luxury”: The Last Bohemia, p. 129.
“her god”: Ambrogio Ceroni, “Les Souvenirs de Lunia Czechowska,” Amedeo Modigliani, Peintre, p. 28.
“dishes and glasses” Billy Klüver and Julie Martin, Kiki’s Paris, p. 66.
“He was very proud”: SCH, p. 197.
poets and philosophers: Arthur Pfannstiel, Modigliani et son oeuvre, p. 8.
“I would often go”: Vanni Scheiwiller, ed., Modigliani vivo, testimonianze inedite e rare, p. 140.
might even have been disoriented: Modigliani et son oeuvre, p. 8.
“You can’t imagine”: Idem, p. 11.
“Everything in Dedo”: SCH, p. 195.
“Picasso would kick”: Modigliani et son oeuvre, p. 11.
“Painting is too complicated”: H. S. Ede, Savage Messiah, p. 27 (May 24, 1910).
court the masons: Artist Quarter, p. 85.
a total spectacle: SII, interview, p. 2.
“and kiss it”: Alfred Werner, Modigliani the Sculptor, p. xvi.
“Although friends sympathized”: John Richardson, A Life of Picasso, vol. 2, p. 17.
“How great he is”: Modigliani the Sculptor, p. xvi.
“If I give”: June Rose, Modigliani, the Pure Bohemian, pp. 56–57.
“My parents had”: Interview with author.
“I was called out”: UM, p. 43.
“The consumption of alcohol”: PL, p. 636.
drugs a way of life: A Life of Picasso, vol. 1, p. 320; Max Jacob was “so addicted”: Idem.
“drinking strange concoctions”: The Adventurous World of Paris 1900–1914, p. 74.
“it was believed”: PL, p. 633.
“Montmartre, at this time”: Artist Quarter, pp. 94–95.
“We ate the paste”: Marevna, Life with the Painters of La Ruche, p. 116.
“Late one night”: UM, p. 53.
“Modigliani charmed”: Idem, p. 59.
“his visual memory”: Idem, p. 62.
“extraordinary freshness”: Idem, p. 65.
“We never saw her”: Idem, p. 54.
a moderate drinker: SCH, pp. 197, 201.
“Certainly he drank”: Idem, p. 189.
Vouvray or Asti: Modigliani et son oeuvre, p. 9.
“You know when”: To author.
he experimented: UM, p. 53; “It was as if”: Idem.
“one of the most original”: The Yale Dictionary of Art and Artists, p. 97.
“irreducible organic form”: Herbert Read, A Concise History of Modern Painting, pp. 101–102.
“like a Russian muzhik”: The Diary of Anaïs Nin, vol. 2, p. 47.
“a born aristocrat”: Modigliani et son oeuvre, p. 59.
a fierce argument: UM, p. 60.
“a taste for danger”: Idem, p. 59.
“Bohemia has nothing”: SE, p. 4.
dominated the evening: PAR, p. 307.
did not seem to matter: UM, p. 60.
He had found: Modigliani et son oeuvre, p. 13.
“a queer mystic group”: Savage Messiah, p. 27. (May 24, 1910.)
“in desperate straits”: UM, p. 75.
“instability you were aware”: UM, p. 80.
“usual credit system”: Idem.
“I don’t need to tell”: Idem, p. 78.
experiment with Fauvism: RE, p. 112.
an early profile: RE, no. 2.
“sulky little face”: JM, p. 45.
“cool purposefulness”: Alfred Werner, Modigliani the Sculptor, p. xv.
“fairground stalls”: UM, p. 67.
“elegantly stylized figurines”: SCH, p. 186.
“magical objects”: RE, p. 24.
the protective mask: PL, p. 251.
“majesty and greatness”: Modigliani the Sculptor, pp. xxiv–xxv.
“an endless whole”: Hugh Honour and John Fleming, The Visual Arts: A History, p. 567.
He was looking: UM, p. 65.
“It was characteristic”: SCH, p. 196.
“Our enquiries”: SII interview.
“I can see him”: Modigliani the Sculptor, p. xxiii.
“affected me deeply”: Idem, p. xviii.
“He seems very well”: Dated July 3, 1909.
“one slash of the scissors”: JM, p. 48.
“I don’t give a hoot”: Charles Douglas, Artist Quarter, p. 124.
all expenses paid: Idem, p. 125.
at Romiti’s atelier: PAR, p. 130.
“a divine day”: UM, p. 95. On September 5, 1909.
“like a ghost”: Aldo Santini, Maledetto dai Livornesi, p. 78.
They had to be real: New York Times, July 26, 1984.
The sculptures were “treasures”: BTM, p. 76.
“It’s easy to be talented”: Idem.
powerful preparatory sketches: UM, pp. 433–36.
“the cool harmonies”: JM, p. 49.
Cézanne’s influence: SCH, p. 38.
“a costumed servant”: Vanni Scheiwiller, ed., Modigliani vivo, testimonianze inedite e rare, pp. 139–46.
“a legendary beauty”: New York Times, March 19, 2006.
“a sort of gloom”: Ronald Meyer, trans., Anna Akhmatova: My Half-Century, p. 77.
soft, relentless shower: Juliet Nicolson, The Perfect Summer, p. 183.
“the knock of his mallet”: Anna Akhmatova, p. 77.
Laure was appalled: JM, p. 50.
“He went out, reeling”: Stanley Kunitz, trans., Poems of Anna Akhmatova, p. 43.
“the tragic consequences”: Anna Akhmatova, pp. 76–83.
“For several years”: Modigliani the Sculptor, p. xxiii.
a curious motif: RE, p. 27.
the Endless Column: Pontus Hulten, Brancusi, p. 20.
“Was Modigliani the originator”: RE, p. 27.
“a frightened child”: SII, interview.
a sacred space: Modigliani the Sculptor, p. xii.
Alexandre bought a balustrade: UM, p. 43.
“large red figures”: Idem, pp. 43–44.
“had a wide entrance”: André Salmon, Modigliani, A Memoir, p. 129.
“a flimsy affair”: Abel Warshawsky, Adventures with Colors and Brush, manuscript, Archives of American Art, p. III.
“the last great expansion”: Patrick Marnham, Dreaming with His Eyes Open, p. 87.
“Venir au café”: Idem; they could spend hours: Idem, p. 88.
the nearby ateliers: Kenneth E. Silver and Romy Golan, The Circle of Montparnasse, p. 69.
“—after death of course”: Written on May 18, 1910.
the flood spared Montparnasse: Adventures with Colors and Brush, p. xxxxi.
fed in soup kitchens: Nigel Gosling, The Adventurous World of Paris, 1900–1914, p. 161.
“the human character”: Michael Holroyd, Augustus John, p. 349.
“considerable courage”: Adventures with Colors and Brush, p. xxv.
a great joke: Artist Quarter, p. 50.
“smells of death”: CR, p. 157.
unanswered letters: The Adventurous World of Paris, 1900–1914, p. 162.
“any mythological means”: Meryle Secrest, Salvador Dalí, p. 124.
“boredom and poverty”: SE, pp. 342–43; “endings of generations”: p. 343.
“Beauty must be a good”: Adam Kirsch, New Yorker, July 14 2008, p. 94.
years as a sculptor: UM, p. 106.
“Only Cardoso’s”: JM, p. 58.
around the room: June Rose, Modigliani, the Pure Bohemian, pp. 91–92.
paid in installments: Nina Hamnett, Laughing Torso, p. 59.
three willing subjects: Sisley Huddleston, Back to Montparnasse, p. 58.
“drawing ceaselessly”: PAR, p. 270.
“His working method”: Conrad Moricand, Quand le diable l’importe, souvenirs 1888–1935, manuscript, p. 100.
“I can see him”: SCH, p. 204.
“I only own one”: Cocteau, Modigliani, no pagination.
it was finally sold: Francis Steegmuller, Cocteau, p. 150 note.
“a colour photograph”: Jeanine Warnod, La Ruche and Montparnasse, p. 84.
“At that period”: A Memoir, Modigliani, André Salmon, p. 129.
“[H]e loved women”: Modigliani, the Pure Bohemian, p. 86.
“all charm”: Marevna, Life with the Painters of La Ruche, p. 18.
“So little did he value”: Artist Quarter, p. 197.
Her husband collapses: Idem.
considered himself a Socialist: Life with the Painters of La Ruche, p. 18.
“There shines upon”: Francis Carco, The Last Bohemia, p. 121.
in a gutter: Robert Coughlan, The Wine of Genius, pp. 45–46.
“Take the painters”: SCH, p. 193.
acutely uncomfortable: Artist Quarter, p. 89.
“a diseased liver”: Life with the Painters of La Ruche, p. 17.
salvaged from the Women’s Pavilion: The Circle of Montparnasse, p. 25.
“His clothes”: Life with the Painters of La Ruche, p. 19.
“He is small”: Diary of an Art Dealer, René Gimpel, pp. 309–310.
sensitive, introspective: Restellini catalog.
“He gave me confidence”: SCH, p. 201.
exhibition amply demonstrated: “Soutine,” Pinacothèque de Paris, 10 October 2007–27 January 2008, curated by Marc Restellini.
“Everything dances”: SII, p. 231.
“poetic beauty”: The Circle of Montparnasse, p. 31.
“Greco-Roman”: BTM, p. 86.
berating a group of Royalists: Artist Quarter, p. 88.
wearing a beard: UM, p. 92.
“I carry no religion”: Modigliani, the Pure Bohemian, p. 132.
endless discussions: C. R. W. Nevinson, Paint and Prejudice, p. 53.
prophesies of Nostradamus: PAR, p. 258.
“Like all Italians”: Modigliani vivo, testimonianze inedite e rare, pp. 63–68.
He could have stumbled” C. G. Jung, Collected Works, vol. VIII, p. 427.
“a vulgar fantasy”: PAR, p. 81.
“Table-turning”: UM, pp. 120–21.
“he was a medium”: Artist Quarter, p. 227.
“in open rebellion”: UM, p. 91.
“the mind of the Lord”: RE, p. 22.
“the secret truth”: Idem; “an extremely radical philosophical conception”: Idem.
“Jean was nursed”: UM, p. 82.
unconscious beside a block: Modigliani, the Pure Bohemian, p. 90; he took up a collection: Idem.
spitting up blood: Artist Quarter, p. 203.
“[H]e looked up”: PLU, p. 206.
not given a drawing: Aldo Santini, Maledetto dai Livornesi, pp. 8–9.
rampant head lice: SII, p. 214.
a single head: UM, p. 104.
“a sane health”: Artist Quarter, p. 124.
“dazzling light”: letter dated April 23, 1913; UM, p. 104.
phase of sculpture ending: UM, p. 106.
“an angel with a grave face”: UM, p. 109.
Jean Alexandre died: June 8, 1913.
“Just as the snake”: UM, p. 92.
unique and universal: UM, p. 93.
“the Red Elixir”: UM, p. 92; resurrection after death: Idem; “Aour!”: Idem; “the Great Work”: Idem.
“when I am consumed”: PLU, p. 70.
“disguised as a workman”: SI, p. 222.
“a wild but frozen sea”: SI, p. 221.
“like so many white horses”: SCH, p. 205.
“one would have thought”: SI, p. 221.
as if he had drowned: SI, idem.
“Zadkine, at this period”: Artist Quarter, p. 209.
“His only response”: SI, p. 222.
“a loan of three francs”: SI, p. 221.
“the heroic period”: Meyer Schapiro, Modern Art, p. 138; “About 1913”: Idem.
“the most remarkable”: The Yale Dictionary of Art and Artists, p. 98.
no Modigliani heads: BTM, p. 96.
“Little by little”: SI, p. 233.
“bathing in the dirt”: SCH, p. 205.
a sculpted stone head: Associated Press, June 14, 2010.
“There is in the corridor”: SCH, p. 189.
“At that time”: Fernande Olivier, Loving Picasso, p. 195.
a bowl of macaroni: Artist Quarter, p. 85.
“reduces her face”: RE, p. 63.
Picasso as a visionary: RE, p. 210.
“an ironic comment”: RE, p. 72.
he would always reply: SI, p. 220.
the two would never meet: SII, interview.
“I’m a Jew”: HOM, p. 14.
the urge to obliterate: John Richardson, A Life of Picasso, vol. 3, p. 74.
“like an old monkey”: Kenneth Clark, The Other Half, pp. 71–72.
the terrible shadow: PAR, p. 47.
the leading cause of death: David S. Barnes, The Making of a Social Disease, p. 13.
“a national scourge”: Idem.
“Fleeing to the countryside”: Idem, p. 92.
“îlots insalubres”: Colin Jones, Paris, Biography of a City, p. 417.
Everyone else’s health was at risk: The Making of a Social Disease, p. 105; fumes from hot tar: Idem, p. 99.
“a fawn coloured mixture”: PLU, p. 107.
“It’s very strange”: Adolphe Basler, Modigliani, p. 12.
“a perfect nuisance”: Nina Hamnett, Laughing Torso, p. 49.
“He was the scourge”: SCH, p. 185.
“I’m done for!”: Artist Quarter, p. 203.
“emotional and intellectual”: René and Jean Dubos, The White Plague, p. 61; his mind was “beating”: Idem; “a butterfly within”: Idem, p. 62; “a wonderful Indian”: Idem, p. 61.
“artistic expression”: Idem, p. 63.
also contained a dining room: SI, p. 239.
“a paid worker”: PAR, p. 291.
“the arcane depths”: A Life of Picasso, vol. 1, p. 203.
“a neighborhood dominated”: RE, p. 169.
curtly said he did not: Artist Quarter, p. 200.
he did paint “a bit”: June Rose, Modigliani, the Pure Bohemian, p. 113.
“Because he was very poor”: Paul Guillaume, Les Arts à Paris, November 1920, no pagination.
“crazily irritable”: Artist Quarter, p. 201.
“depression or indolence”: PLU, p. 129; “always in extreme”: Idem, p. 241.
“Shackled and oppressed”: Sheila M. Rothman, Living in the Shadow of Death, p. 30.
“point of delirium”: SI, p. 200.
“furious and unexpected”: Rémy de Gourmont, quoted in Dalí catalog, Philadelphia Museum of Art, February–May 2005, p. 211.
“a demonic figure”: Ronald Meyer, ed., Anna Akhmatova: My Half-Century, p. 366.
“extraordinary intuition”: MAL, p. 6; “a pale complexion”: Idem, pp. 268–69.
“Here lies a youth”: MAL, p. 33.
“fits of sleeplessness”: MAL, pp. 63–64; “who seemed not”: Idem, p. 76.
“a breathing corpse”: Idem, p. 169.
saved from death by Magnelli: Modigliani vivo, testimonianze inedite e rare, pp. 103–05.
He might be “a pearl”: SI, p. 267.
first meeting with Modigliani: She wrote on September 17, 1936.
He was “fishing”: MP, “On the Boulevard Edgar Quinet,” p. 207.
They met again: NA, June 14, 1914.
listening in amazement: Ambrogio Ceroni, “Les Souvenirs de Lunia Czechowska,” Amedeo Modigliani, Peintre, p. 21.
jealous and possessive: BAR, p. 208.
“a long tunnel”: As quoted in Nigel Gosling, The Adventurous World of Paris, 1900–1914, p. 230; the last civilian train: Idem, p. 231.
Parisian males would be conscripted: Colin Jones, Paris, Biography of a City, p. 435.
“two rooms and real running water”: GRA, p. 276; “never to begin”: Idem.
“surrounded by a gang”: John Richardson, A Life of Picasso, vol. 2, p. 368.
“Much laughter”: NA, May 28, 1914.
shot the editor: The Adventurous World of Paris, 1900–1914, p. 221.
“[t]he romantic world”: NA, June 18, 1914.
“No wonder he is”: NA, July 9, 1914.
“he abducted her”: SCH, p. 189.
“wicked genius”: Idem, p. 194.
Guillaume’s contradictory testimony: Les Arts à Paris, November 1920, no pagination.
“it isn’t all gay”: NA, June 11, 1914.
“don’t go!’ ”: NA, July 16, 1914.
“Women should have”: GRA, p. 296.
“realising their own images”: Kenneth Clark, The Other Half, p. 72.
“He was thus a target”: Marta Petricioli and Donatella Cherubini, eds., Pour la Paix en Europe, p. 310; “[W]e are witnessing”: Idem.
a matter of days: GRA, p. 289.
“Many artisans’ shops”: Paris: Biography of a City, pp. 435–39.
“I managed to change”: GRA, p. 296; “there isn’t a quarter”: Idem, p. 297; “This morning very little”: GRA, p. 298.
“People vanish”: GRA, p. 301; “The first effect”: Idem, p. 302.
“all over the corridors”: Idem, p. 302; “lost each other”: Idem, p. 305.
“we are saved!”: NA, September 10, 1914.
“all wet and muddy”: GRA, p. 300; “sandwiches and cigarettes”: Idem, p. 308.
“I routed out”: NA, February 11, 1915.
“a state of culture”: Idem.
Poiret began buying: WAY, pp. 176–77.
“the broken and choppy”: Flavio Fergonzi, The Mattioli Collection, p. 260.
“My regiment was”: UM, p. 47.
lost an arm: Life with the Painters of La Ruche, p. 55.
briefly mobilized: Colette Giraudon, Paul Guillaume et les peintres du XXe siècle, p. 29.
“The wartime lack”: Kenneth E. Silver and Romy Golan, The Circle of Montparnasse, p. 36.
“Just about every Montparnassian”: SCH, p. 186.
“Where else could we go?”: Marevna, Life with the Painters of La Ruche, pp. 36–37.
“old and short and solid”: Frederick S. Wight, “Recollections of Modigliani by Those who Knew Him,” Italian Quarterly, 1958, p. 41.
“with odds and ends”: Billy Klüver and Julie Martin, Kiki’s Paris, p. 71.
a “tiny, bandy-legged”: Life with the Painters of La Ruche, pp. 60–61.
Quatz’ Arts ball: GRA, pp. 311–12; André Salmon, Modigliani: A Memoir, pp. 266–74.
basket of ducklings: GRA, p. 313.
“I look with interest”: Kiki’s Paris, p. 222.
slumming it: The Circle of Montparnasse, p. 74.
Kisling gave advice: TRIB, February 17, 1964.
“at least ten thousand”: Idem.
a small fortune: KIS, p. 86.
five servants and own two American cars: Interview with Jean Kisling.
a very bad painter: René Gimpel, Diary of an Art Dealer, p. 349.
“[t]he axis around which”: Kiki’s Paris, p. 162; “How was I able”: Idem, p. 236.
“I want life to be beautiful”: Kiki’s Paris, p. 236.
“I’m marrying the daughter”: SI, p. 386.
“He rushed to…‘My bridal linen!’ ”: SCH, p. 200.
out of the gutter: KIS, pp. 105–07.
It was all too sad: NA, November 12, 1914; a few Zeppelins. Idem.
“Virgin Mary”: NA, November 5, 1914.
“formal grace”: SCH, p. 31; “series of major portraits”: Idem, p. 34.
time to bury him: NA, November 5, 1914.
“only the fittest”: NA, December 17, 1914.
“until stray visitors”: NA, December 24, 1914.
brown and gloomy: NA, February 4, 1915.
“flags and flowers”: NA, May 6, 1915.
“almost photographic”: NA, January 28, 1915.
“the more dogmatic”: John Richardson, A Life of Picasso, vol. 2, p. 374.
“an old Catalan peasant”: Idem.
“the most unpleasant”: June Rose, Modigliani, the Pure Bohemian, p. 130.
“shut all shutters”: NA, January 28, 1915; “Nearly everyone”: Idem.
“Both love and work”: NA, December 19, 1916.
“half the population”: NA, May 20, 1915.
“Will he flower?”: Modigliani, the Pure Bohemian, p. 128.
“As to Laure”: Idem, p. 129.
“She, poor girl”: PAR, p. 44.
“a craving, violent”: Madame Six, GRA, p. 343.
“ ‘while the vogue lasts’ ”: GRA, p. 340.
“securing my peace”: GRA, p. 346.
“little psychic consequence”: NA, January 7, 1915.
“A figure cut out of”: Fiona MacCarthy, William Morris, pp. 229–30.
“cadaverous body”: René and Jean Dubos, The White Plague, pp. 56–57.
strange additional charm: Idem, p. 55.
hoped he would die of consumption: Idem, p. 53.
“a life so brief”: Idem, p. 53.
“glimpsing his mistress”: Artist Quarter, p. 97.
“severely afflicted”: The White Plague, p. 58.
“an indefinable expression”: Pierre Louis Duchartre, The Italian Comedy, p. 42.
“It is possible … to ask”: SCH, p. 33.
“immaculately dressed”: SCH, p. 197.
“For the masks were”: The Italian Comedy, p. 42.
“Secrecy [was]”: PL, p. 139.
“Not every family”: PL, p. 678 note.
“crystalline purity”: SCH, p. 195.
“his drawing developed”: Agnes Mongan, Modigliani—Drawings from the Collection of Stefa and Léon Brillouin, Fogg Art Museum, 1959, pp. 7–12.
“The figures are”: Frederick S. Wight, Modigliani Paintings and Drawings, Museum of Fine Arts, Boston, p. 18; “Cézanne’s whittling”: Idem, p. 16.
“hewn from a plank”: SCH, p. 26.
“With one eye”: SII, interview.
“nothing is mannered”: SCH, p. 44.
dangerously primitive notions: Les Arts à Paris, November 1920, no pagination.
“They laughed at”: To Vanni Scheiwiller, April 6, 1932; Modigliani Vivo, testimonianze inedite e rare, pp. 39–40.
“with passion, with violence”: Les Arts à Paris, November 1920, no pagination.
rue du Faubourg Saint-Honoré: According to his biographer, Colette Giraudon, Guillaume moved there in October 1917.
“the most complete and perfect”: Alfred Werner, “The Eternal Modigliani,” Amedeo Modigliani, October 14–November 13, 1971, Acquavella Galleries, no pagination.
“He usually began”: SCH, p. 203.
“The remedy was”: SII, interview.
“I’ll paint you another one”: SII interview.
Born Chaim Jacob Lipchitz: SI, p. 208; “so lovable, so gifted”: SI, pp. 207–08.
“He … made a lot of”: SI, p. 209.
“two portraits on one”: SI, p. 196.
“radiance and the beauty”: Ambrogio Ceroni, “Les Souvenirs de Lunia Czechowska,” Amedeo Modigliani, peintre, p. 20.
“This was a real artist”: Idem, p. 28.
“a wet chicken”: SI, p. 337.
the baby had died: PAR, p. 300.
a permanent scar: GRA, p. 389.
“To reach the [house]”: Marevna, Life with the Painters of La Ruche, p. 117; “A shattering of glass”: Idem.
a tempestuous affair: GRA, p. 345.
a dream landscape: MP, p. 209.
“bourgeois spirited”: GRA, p. 388; “the most foul beings”: Idem.
the cobweb bridge: John Bartlett, Familiar Quotations, p. 804a.
Pina fired a shot: GRA, p. 414.
“seized the gun”: Frederick S. Wight, “Recollections of Modigliani by Those Who Knew Him,” Italian Quarterly, 1958, p. 42.
Picasso took command: A Life of Picasso, vol. 2, p. 427.
A description of the Hébuterne apartment is given in a letter from Odette Lasserre to Anne Modigliani, May 21, 2005.
“in her romantic way”: SII, interview.
at the age of seventeen: In April 1914.
“Please don’t die”: FL.
“a precious stone”: Idem.
“they must suffer”: Idem.
“she often went ‘head to head’ ”: Interview with author.
“the appalling tyranny”: C. R. W. Nevinson, Paint and Prejudice, pp. 62–63. This comment was written in 1938.
“women belonged in the home”: Bryher, The Heart to Artemis, p. 155.
Jours de famine et misère, the original title, was subsequently retitled Jours de famine et de détresse when it was reissued in 1970.
Why was she drawn: SE, p. 74
“vicieuse et sensuelle”: Phyllis Birnbaum, Glory in a Line, A Life of Foujita, p. 115.
They became lovers: Patrice Chaplin, Into the Darkness Laughing, p. 54.
her parents knew nothing: SE, p. 93.
“It’s a shame that I made a kid”: TRIB.
“a little less hate”: JM, pp. 115–16.
They moved in July 1917: SE, p. 101.
“His joy was such”: SI, p. 358.
“Maintenant silence”: Now silence / and suddenly with the falling mist / the accordion speaks of love to the kitchen maids and street sweepers …” (author’s translation).
Zborowski had to represent Soutine: Paul Guillaume et les peintres du XXe siècle, p. 128.
“generous, natural and calm”: Kenneth Clark, The Nude, p. 124.
“violent transitions”: Idem, p. 360; “an enraged protest”: Idem, p. 361.
“no moral objections”: SI, p. 47.
“his nudes evoke”: Idem, p. 47.
“prickly, peppery”: John Richardson, A Life of Picasso, vol. 1, pp. 163–64.
the objectionable nudes: SCH, pp. 204–05.
sold at the Hôtel Drouot: Francis Carco, The Last Bohemia, p. 231 note.
“He came with me”: Idem, pp. 234–35; “was about to sell some clothes,”: Idem; Zborowski “never doubted”: Idem, p. 235.
“That very same day”: Interview with author.
“I became his disciple”: A Life of Picasso, vol. 2, p. 302.
“In those days”: Roger Dutilleul, “L’Art et l’Argent,” Art Present, 1948 (author’s translation).
“Modi was just everything”: SII, interview.
“Just as Modigliani’s art”: SE, p. 14.
the roof fell in: Colin Jones, Paris, Biography of a City, p. 440; the killed and injured: Idem.
thirty million died: Washington Post, December 22, 2006.
“a persistent rumor”: PL, p. 145.
They would just leave: Luc Prunet to author.
“thin and emaciated”: SCH, p. 205.
“relations … became more … strained”: JM, p. 89.
“He had no other attachment”: SII, interview.
“The crowd had doubled”: René Gimpel, Diary of an Art Dealer, p. 70.
next day he forgot: Artist Quarter, p. 280; SII, p. 421.
André discovered the baby: Luc Prunet to author.
“He saw that as proof”: SE, p. 156. Restellini notes that André Hébuterne kept a diary of his World War I experiences and that he was given access to this vital testimony so as to date the movements of, not only André, but Jeanne, Amedeo, and Jeanne’s mother more exactly. The author was not given permission to see this journal. André broke the news to his father: Luc Prunet to author. The atmosphere worsened (“s’ensuivront des explications orgueuses entre André et Jeanne”): SE, p. 156.
“close up like an oyster”: Prunet to author.
“Modigliani was absolutely thrilled”: Ambrigio Ceroni, Amedeo Modigliani, Peintre, p. 26.
“The baby is well”: Undated letter, JM, pp. 91–92.
could do nothing with her: Idem, p. 89.
“As a husband”: FL.
“lost ewe”: André Hébuterne diary.
“I have kept”: Amedeo Modigliani, Peintre, pp. 26–27.
“sad and beautiful,”: Margaret MacMillan, Paris 1919, p. 26; “Along the quais”: Idem.
“The father seemed thrilled”: SE, p. 156.
“Mlle Jane Hebuterne”: JM, p. 112.
He seemed in good spirits: Marevna, Life with the Painters of La Ruche, pp. 148–49.
newspaper reviews: Modigliani and His Models, Royal Academy of Arts, July–October 2006, p. 70.
“With flat, Slavonic”: Osbert Sitwell, Laughter in the Next Room, pp. 164–65; the average gallery price: Idem, p. 167.
“a tuppeny damn”: Hugh Blaker diaries, University of Wales, March 31, 1932.
“It seemed ridiculous”: Kenneth Clark, Another Part of the Wood, pp. 78–79.
the prices would double: Colette Giraudon, interview with author.
“Modigliani did not immediately comply”: Laughter in the Next Room, p. 177.
“a little bit of brain”: Artist Quarter, p. 298.
“It is only in the final phase”: André Salmon, Modigliani: A Memoir, pp. 207–08.
a magnificent English wool scarf: Amedeo Modigliani, Peintre, p. 30.
“he kissed the paper”: SII, interview, p. 8.
“fidgeted, smoked”: SI, p. 337.
“I couldn’t believe”: Italian Quarterly, 1958, p. 43.
a month before he died: Modigliani vivo, pp. 77–86.
he had made her look ugly: PAR, p. 298.
a box of Gitanes cigarettes: Billy Klüver and Julie Martin, Kiki’s Paris, p. 88.
“cough a lot”: Idem.
“a ravishing blond”: Amedeo Modigliani, Peintre, p. 30.
“Life is a gift”: Idem; “Renée did not hold”: Idem, p. 32; “Poor dear friend”: Idem, p. 29.
they never did: Idem, p. 33.
attempted to reconcile: SI, p. 482.
the needed legal papers: JM, p. 111.
“un chat se gratte la tête”: SI, p. 484.
likened it to a mask: Modigliani and His Models, Royal Academy of Arts, pp. 42–43.
“thinly applied paint”: Kenneth E. Silver and Romy Golan, The Circle of Montparnasse, pp. 18–19.
“Overeating—that’s the only thing”: SI, pp. 485–86.
“It was astonishing”: SI, p. 488; Artist Quarter, pp 414–15.
“Great artists like these”: Interview with author.
“he liked contemplating death”: Artist Quarter, p. 232.
“like a child”: SI, p. 491.
an ancient doxology: Leo Rosten, The Joys of Yiddish, pp. 162–63.
believed he was destitute: SII, interview.
advice about money: SI, p. 490.
more than she could bear: PAR, p. 47.
a phantom boat: SI, pp. 496–97.
out of sheer childish pettiness: SI, p. 497.
a letter Zborowski sent: On January 31, 1920; JM, p. 114.
He claimed to be the one: SCH, p. 198.
“His friends and I”: JM, p. 114.
he could still stand: PAR, p. 220.
called a meeting: KIS, p. 130.
eight hundred francs apiece: Artist Quarter, p. 301.
boasting about the deals: John Richardson, A Life of Picasso, vol. 1., p. 352.
mysteriously acquired: PAR, p. 221.
“Black is the color”: Joseph Campbell, The Mythic Dimension, p. 305, note 59.
“he’ll soon be living”: SI, p. 499.
Quenneville said she found: PAR, 329.
“[M]ore and more”: SE, p. 188.
It could represent Maldoror: Idem, p. 190.
rates of suicide: Washington Post, July 7, 2008.
“in spiritual agony”: New York Times Magazine, July 6, 2008.
makes no mention: SI, p. 56.
Jeanne had been moved: From the death notices.
the portrait of Varvogli: PAR, p. 239.
some of her brains: From interviews conducted by Klüver and Martin.
she woke herself up: Ambrogio Ceroni, Amedeo Modigliani, Peintre, p. 34.
not yet been paid: Elle, April 1958, p. 95.
She is ours: GE, October 1923, p. 56.
Life was worth believing in: PAR, p. 45.
they made a declaration in Paris: March 28, 1923.
“some well-tended plants”: GE, February 18, 1927, p. 104.
she died in Florence: GE, July 27, 1927, p. 105.
“She was the lackey”: Elle, April 1958, p. 97; “Tante Marguerite”: Idem.
called her a sadist: Victor Leduc, Les Tribulations d’un idéologue, p. 64.
green-flecked eyes: Elle, April 1958, p. 97.
“She was very droll”: Interview with Jean-Pierre Haillus.
“like actors wearing masks”: Les Tribulations d’un idéologue, p. 66.
“determinant, crucial”: Interview with Dominique Desanti.
“Her rebellion”: Les Tribulations d’un idéologue, p. 64.
arrested … released: Dates of October 18, 1943, and January 1944 respectively, courtesy of René Glodek.
“She looked the Germans”: Interview with René Glodek.
“Resistance soup”: Jean-Pierre Haillus to author.
had divorced Mario Levi: By April 1, 1946.
“by whom I also had a daughter”: Les Tribulations d’un idéologue, p. 92.
“He had a double life”: Interview with author.
married Jeanne: On August 14, 1957.
“they were very poor”: Interview with author.
does not share: Haillus, interview with author.
still modestly priced: Gerald Reitlinger, The Economics of Taste, p. 393.
“a dream come true”: Interview with author.
Zborowski had hired people: Interview with author.
signed each other’s work: Interview with author.
nothing he could do: René Gimpel, Diary of an Art Dealer, p. 385. (December 13, 1929.)
“ ‘Étude in Tunis’ ”: Modigliani vivo, testimonianze inedite e rare, p. 48. (December 12, 1932.)
four caryatids: Fakes and Forgeries, Minneapolis Institute of Arts, 1973, figures 207–10.
A portrait of a woman sold: January 15, 1958, and at Christie’s for sale July 2, 1974. Further information was requested in 2006 from Guy Bennett, then director of Impressionist and Modern Painting at Christie’s, for this and two other queried Modiglianis sold by Christie’s. No reply was received.
“the question of Modigliani’s authenticity”: RE, p. 12.
“The droit morale”: Artnews, January 2004.
“runs directly counter”: RE, p. 12.
“she signed … certificates”: Artnews, idem.
Elmyr de Hory collaborated with Jeanne; “brought some Modigliani”: Clifford Irving, Fake, p. 134.
“a passionate admirer”: Réal Lessard, L’Amour du faux, p. 99.
“not being listed”: Artnews, idem.
“is an absolute mystery”: Interview with author.
archives are now in Rome: As of January 1910, the address of the archives is: “Modigliani Institut Archives Légales Paris-Rome,” Palazzo Taverna, via di Monte Giordano 36, Rome. Tel: 39-069826220, www.modigliani-amedeo.com.
“will have to work”: Artnews, September 2006.
court of appeals sentence: Agence France Presse, January 11, 2010.
“used his well-known role”: Le Monde, December 19, 2008.
“I am disappointed”: Art Newspaper, May 2002.
“Marc, what have you done?”: Interview with author.
buying a fake painting with fake money: Interview with author.
“The contrast between”: JM, xvii.
“her portraits of”: New York Times, November 30, 1958.
“it seems to me”: On July 15, 1920.
would keep a memento: Luc Prunet.
The family’s anger: Christian Parisot, Modigliani e i suoi, p. 16.
“an inner conviction”: Interview with author.
nude and completely drunk: Jean-Pierre Haillus.
“Everything in her life”: Interview with author.
“One does not understand”: Interview with author.
“until she finally”: Patrice Chaplin, Into the Darkness Laughing, p. 144.
“half-ecclesiastical”: P. D. James, The Lighthouse, p. 5.
spiritual calm: Nina Hamnett, Laughing Torso, p. 159.
“stony silence”: SCH, p. 206.
found a one-hundred-franc note: Laughing Torso, idem.
“Everything was a mess”: Interview with Godefroy Jarzaguet.
“nobody actually died”: Interview with Alexandra Marsiglia.
limits his praise: Douglas Cooper, Great Private Collections, p. 286.
“The universities where”: RE, p. 11; “Forgeries appeared”: Idem.
“no such influence”: SCH, p. 53; “the individuality”: Idem.
“extremely radical … conception”: RE, p. 22.
“Where myth and anti-myth”: “Modigliani,” Arts Council of Great Britain, introduction by John Russell to the exhibition at the Tate, London, September 28–November 3, 1965, p. 5.
“the free imagination”: Lionello Venturi, Italian Painting from Caravaggio to Modigliani, p. 159.