{"id":208555,"date":"2026-08-28T08:31:31","date_gmt":"2026-08-28T06:31:31","guid":{"rendered":"https:\/\/svetslik.si\/nekategorizirano\/madame-van-muyden-2\/"},"modified":"2026-09-10T14:44:02","modified_gmt":"2026-09-10T12:44:02","slug":"madame-van-muyden","status":"publish","type":"product","link":"https:\/\/svetslik.si\/en\/amedeo-modigliani\/madame-van-muyden\/","title":{"rendered":"Amedeo Modigliani \u2013 Madame G. van Muyden"},"content":{"rendered":"

Madame G. van Muyden is a large canvas held by the S\u00e3o Paulo Museum of Art under inventory number MASP.00148 and dated 1916\u201317. The sitter is upright in a dark dress, her hands folded in her lap. With us it is made as a hand-painted copy, oil on canvas, to order, in eight sizes or in a size you give us; before dispatch we send you a photograph of the finished canvas.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n
Title:<\/td>\nMadame G. van Muyden<\/td>\n<\/tr>\n
Other titles:<\/td>\nMadame G. van Muyden (the only title MASP\u2019s record gives)<\/td>\n<\/tr>\n
Painter:<\/td>\nAmedeo Modigliani (1884\u20131920)<\/td>\n<\/tr>\n
Year of creation:<\/td>\n1916\u201317<\/td>\n<\/tr>\n
Original size (width \u00d7 height):<\/td>\n65 \u00d7 92 cm<\/td>\n<\/tr>\n
Original technique:<\/td>\noil on canvas<\/td>\n<\/tr>\n
Painting style:<\/td>\nexpressionism, \u00c9cole de Paris<\/td>\n<\/tr>\n
Located:<\/td>\nS\u00e3o Paulo Museum of Art (MASP)<\/a> (inv. MASP.00148)<\/td>\n<\/tr>\n
Our reproduction:<\/td>\nhand-painted copy, oil on canvas, eight sizes or a custom size<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Madame G. van Muyden \u2013 Amedeo Modigliani<\/h2>\n

What is on the canvas?<\/h3>\n

A female figure, seated and given down to the knees, which in Modigliani is rarer than the half-length portrait. The pose is upright and quiet, the shoulders squared, the hands folded in the lap. The face is a long oval, the chin narrow, the nose straight; the eyes almond-shaped, the brows thin and set high. The neck is lengthened, though less than on the later canvases. The dress is dark and long, without ornament; the collar closed. The ground is divided into two fields, lighter at the left and darker at the right, with no objects in it. Because of the large format and the still pose this is one of the most formal canvases on the shelf.<\/p>\n

Who was Madame van Muyden?<\/h3>\n

The museum\u2019s record gives only the surname and an initial \u2014 Madame G. van Muyden \u2014 and nothing further. Who she was the catalogue does not explain, and so we attribute nothing to her. The name is Dutch or Flemish, and the Paris circle of those years, the one we now call the \u00c9cole de Paris, held people from all over Europe; more than that would be guesswork. What is known is the time: the canvas was made in 1916 and 1917, when Modigliani was painting mostly people from his own neighbourhood and from his dealer\u2019s circle.<\/p>\n

The record of the original, and how it reached S\u00e3o Paulo<\/h3>\n

The original is oil on canvas. MASP measures it 92 \u00d7 65 \u00d7 2 cm \u2014 height, width and the depth of the stretcher \u2014 and dates it 1916\u201317, that is as a two-year range and not as a single year; we give it the same way. Our figure of 65 \u00d7 92 cm is the museum\u2019s. How the canvas reached Brazil is in the record too: as a gift of Tor Janer in 1951. That is the whole documented route, and we go no further. The work also has its own Wikidata entry<\/a>.<\/p>\n

The motif among the painter\u2019s works<\/h3>\n

MASP holds six paintings by Modigliani, all made between 1915 and 1919, and all of them entered the collection between 1950 and 1952 \u2014 the museum says so itself. Four of them are on our shelf: beside this one, Ren\u00e9e<\/a>, Portrait of L\u00e9opold Zborowski<\/a> and Madame Hanka Zborowska<\/a>. Their inventory numbers are neighbours, MASP.00148 to 00152. Of these the van Muyden is the largest and the most reserved; if you want a Modigliani that does not raise its voice, this is the one. The whole selection is in the Amedeo Modigliani gallery<\/a>, and we have written a longer article<\/a> about the painter.<\/p>\n

How is our hand-painted version made?<\/h3>\n

A painter paints it, with a brush, in oil on canvas, to your order. Every canvas painting takes some weeks, and each copy comes out slightly its own; that is not a fault but the consequence of a person working rather than a machine. On this motif the dress is the hard part: it is dark and almost without detail, but it is not flat \u2014 there are fine differences between a warm and a cold black inside it, and left out, the figure turns into a silhouette. Before dispatch you receive a photograph of the finished canvas and approve it. It is never a print.<\/p>\n

Which size for which wall?<\/h3>\n

For this motif we suggest 70 \u00d7 100 cm. The original is large and the figure nearly life-size, so the canvas carries a main wall better than the smaller portraits on this shelf. For a smaller room 60 \u00d7 90 cm is enough. Below 50 \u00d7 70 cm we advise against it, because the folded hands then merge into the dress and the pose is lost, and the pose is the main thing in this work. If you want a post-impressionist painting in a size that is not on the list, we make it to order<\/a>.<\/p>\n

Frequently asked questions<\/h3>\n

Where is the original?<\/h4>\n

In the S\u00e3o Paulo Museum of Art (MASP), inventory number MASP.00148, a gift of Tor Janer in 1951.<\/p>\n

Why do you give two years?<\/h4>\n

Because the museum gives two: 1916\u201317. We do not compress a range into a single year, because the record does not carry that precision.<\/p>\n

How closely does it follow the original\u2019s proportions?<\/h4>\n

The original measures 65 \u00d7 92 cm. The closest of our sizes is 120 x 170 cm, which departs from the original\u2019s proportions by 0.09%.<\/p>\n