{"id":82261,"date":"2021-09-02T17:49:51","date_gmt":"2021-09-02T15:49:51","guid":{"rendered":"https:\/\/svetslik.si\/uncategorized\/portrait-of-jeanne-hebuterne-vi\/"},"modified":"2026-09-04T11:34:18","modified_gmt":"2026-09-04T09:34:18","slug":"portrait-of-jeanne-hebuterne-vi","status":"publish","type":"product","link":"https:\/\/svetslik.si\/en\/amedeo-modigliani\/portrait-of-jeanne-hebuterne-vi\/","title":{"rendered":"Amedeo Modigliani \u2013 Portrait of Jeanne H\u00e9buterne VI"},"content":{"rendered":"

Portrait of Jeanne H\u00e9buterne VI is an oil on canvas painted by Amedeo Modigliani in 1919; the original measures 129.5 \u00d7 81.5 cm, while the catalogues raisonn\u00e9s of Parisot and Patani record it as 130 \u00d7 81 cm. The canvas is in private hands and was last sold in 2004 at Sotheby\u2019s in New York. Our canvas painting<\/strong> is a hand-painted copy of that work: an academy-trained painter makes it in oil on cotton canvas, in eight sizes from 40 \u00d7 60 cm to 120 \u00d7 190 cm or in the size you specify, and before dispatch we photograph it and send you the photograph for approval.<\/p>\n\n\n\n\n\n\n\n\n\n\n\n
Title:<\/td>\nPortrait of Jeanne H\u00e9buterne VI<\/td>\n<\/tr>\n
Other titles:<\/td>\nJeanne H\u00e9buterne (devant une porte) \u00b7 Jeanne Hebuterne in Red Shawl \u00b7 Portrait of Mrs. Hebuterne<\/td>\n<\/tr>\n
Painter:<\/td>\nAmedeo Modigliani (1884\u20131920)<\/td>\n<\/tr>\n
Year:<\/td>\n1919<\/td>\n<\/tr>\n
Original size (height \u00d7 width):<\/td>\n129.5 \u00d7 81.5 cm (Parisot and Patani: 130 \u00d7 81 cm)<\/td>\n<\/tr>\n
Original technique:<\/td>\nOil on canvas, signed upper right<\/td>\n<\/tr>\n
Painting style:<\/td>\nModern art, \u00c9cole de Paris<\/td>\n<\/tr>\n
Where it is:<\/td>\nPrivate collection \u2013 catalogue entry<\/a>; last at Sotheby\u2019s New York, 2004<\/td>\n<\/tr>\n
Our reproduction:<\/td>\nhand-painted oil on canvas, eight sizes from 40 \u00d7 60 cm to 120 \u00d7 190 cm, custom size on request<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Portrait of Jeanne H\u00e9buterne VI \u2013 Amedeo Modigliani<\/h2>\n

Who is the woman on the canvas?<\/h3>\n

Jeanne H\u00e9buterne, the painter\u2019s partner and mother of his daughter. Born in 1898, she was nineteen when she met Modigliani in the summer of 1917, studying at the Acad\u00e9mie Colarossi. For the next three years she was his constant companion and his most frequent subject. This canvas is the last depiction of Jeanne he painted: it was made shortly before the deaths of both of them, two days apart, early in 1920. The work is not simply one of his portraits but the end of a series.<\/p>\n

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

A woman sits on a chair, turned slightly right, hands folded in her lap and head tilted to one side. A rust-red shawl lies over her shoulders, under it a white blouse with wide sleeves, and below a dark blue-violet skirt that spreads across the whole lower third of the canvas. Behind her stands an orange door with a glazed upper panel, to the right a pink plane, to the left and above a yellow-green wall. The face is pale and elongated, the eyes blue almond shapes without pupils. Those eyes keep the viewer from ever making contact with the sitter: they look, but do not answer. Since the canvas is nearly a metre thirty tall, the figure is close to life-size and meets us at eye level.<\/p>\n

Why does this portrait matter?<\/h3>\n

Because it is the largest format Modigliani gave to Jeanne, and also the last. The auction record counts it among his most monumental portraits: almost all his portraits are about half a metre tall, this one three times that. Everything he developed after 1916 gathers in it \u2014 the geometric simplification of the body, the S-curve, the elongated neck, the tilted head, the stylised nose and the small, pursed mouth. It is a post-impressionist painting<\/strong> in the sense in which post-impressionism meant building the body out of planes rather than describing light. In Paris Modigliani belonged to that circle of immigrant painters we now call the \u00c9cole de Paris.<\/p>\n

A room made of colour planes<\/h3>\n

Modigliani almost never painted interiors: in the great majority of his portraits there is only an indefinite ground behind the figure, telling us nothing about where we are. Here is the exception \u2014 behind the woman stand a real door, a real wall and a real corner of a room, and the French title of the work is Jeanne H\u00e9buterne devant une porte<\/em>, in front of a door. Yet even this is not perspectival space but a few large planes of pure colour meeting without shadow. The room is made of colour, not depth, and that is why the figure stays flat and calm despite the format. Anyone reproducing this work must grasp first that those planes rank equal with the face and are not scenery behind it. The door can be read as an exit, but in Modigliani such a reading is almost always too large: it is there because the room was like that. What remains is that this was the last time, and the big format is not showing off but the only way a figure this quiet holds so much space.<\/p>\n

Where is the original today?<\/h3>\n

In a private collection, so there is no accession number. Its first owner was Leopold Zborowski, Modigliani\u2019s dealer, who housed the painter in his own apartment and supplied him with models and materials; after him it belonged to the Baixeras family in Paris, to Mr and Mrs Brillouin in Paris and New York, and to Mr and Mrs Brody in Los Angeles. It was exhibited in 1951 at the Cleveland Museum of Art and the Museum of Modern Art, New York. In 2004 it was sold at Sotheby\u2019s in New York<\/a>; the catalogue names the Safra collection in London as a later owner. The photograph that circulates online is cropped for this work and therefore more elongated than the original: the measurements in the table are right, the photograph is not.<\/p>\n

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

The work is made by an academy-trained painter in oil on cotton canvas, stretched over a wooden frame. It is not a print: every stroke is laid by hand, and your canvas always differs a little from our reference in brushwork and in the thickness of the paint. The painter begins with the ground \u2014 the orange door and the yellow-green wall \u2014 because those planes decide how light the face and blouse will look; only then comes the figure. Here the order matters more than usual, because pale skin next to a strong orange turns grey quickly if the ground is toned badly. When the paint is dry we photograph the work and send the photograph for approval.<\/p>\n

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

For most homes the right choice is 81 \u00d7 130 cm \u2014 that size follows the catalogue measurement one to one, so you receive the original proportions. The small ones, 40 \u00d7 60 and 50 \u00d7 80 cm, belong in a hallway or a narrow wall. The medium ones, 60 \u00d7 100 and 70 \u00d7 110 cm, work above a sideboard or sofa. The large ones, 90 \u00d7 140, 100 \u00d7 160 and 120 \u00d7 190 cm, want a free wall and three metres of distance; there the figure is larger than life and takes over the room. The format is upright and markedly tall, so it works where the wall is taller than wide \u2014 along a staircase or between two windows. The colours are strong and warm, so it carries a coloured wall too, but is at its best on a light one.<\/p>\n

Custom size, stretcher and frame<\/h3>\n

If your wall asks for a size that is not on the list, we will make it. Give us the height and width in centimetres; we check whether the proportion carries the original\u2019s crop and tell you what changes at the edges \u2014 here it shows first at the bottom, where the skirt spreads across the full width and cannot be cut without taking the figure\u2019s base with it. You also choose whether it arrives stretched on a wooden frame, ready to hang, or rolled in a tube, which is cheaper to ship. You pick the frame in our 3D application, which shows it on the work, and on request we set it into a photograph of your wall. If you are looking for a work we do not carry, see our made-to-order paintings<\/a>.<\/p>\n

Delivery and guarantee<\/h3>\n

We deliver to your address, and the work travels protected, the canvas held clear of the outer wall of the packaging. Lead time depends on the size and the workshop\u2019s load: we estimate it when you order and tell you if it changes. We guarantee workmanship and materials: if the work arrives damaged or does not match the photograph you approved, we repaint it at our own cost. Because you see it in a photograph before it ships, most questions are settled before the parcel leaves.<\/p>\n

Frequently asked questions<\/h3>\n

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

In a private collection. As it is privately owned, there is no accession number.<\/p>\n

Is this really the last portrait of Jeanne H\u00e9buterne?<\/h4>\n

According to the 2004 auction record, yes: the last depiction of Jeanne he painted.<\/p>\n

Why are there two measurements in the table?<\/h4>\n

Because the sources differ: the auction record gives 129.5 \u00d7 81.5 cm, Parisot and Patani 130 \u00d7 81 cm. The difference is half a centimetre and both describe the same canvas.<\/p>\n

Is this a print?<\/h4>\n

No. Every canvas is painted by hand by a painter, in oil. We print nothing.<\/p>\n

Which size should I choose?<\/h4>\n

If you cannot decide, take 81 \u00d7 130 cm, the size of the original. For a narrow hallway wall 40 \u00d7 60 cm, for a large wall 120 \u00d7 190 cm.<\/p>\n

Can I have a size that is not on the list?<\/h4>\n

Yes. Give us the height and the width in centimetres; we explain first how the size affects the crop.<\/p>\n

How does it arrive?<\/h4>\n

Stretched on a wooden frame and ready to hang, or rolled in a tube. Both travel in protective packaging.<\/p>\n

What is it about, in one sentence?<\/h4>\n

That the painter gave his partner, for the last time, the largest canvas he ever took for her.<\/p>\n

Is the original for sale, and what is it worth?<\/h4>\n

It is not for sale. It is in private hands and we put no value on it; we say only that it was auctioned in 2004.<\/p>\n

How high should it hang?<\/h4>\n

With its centre about 145 cm above the floor. With a tall format it pays to hang it a little lower than instinct suggests, or the head ends up above comfortable eye level.<\/p>\n

Which other portraits of Jeanne do you have?<\/h4>\n

See Portrait of Jeanne H\u00e9buterne I<\/a>, Portrait of Jeanne H\u00e9buterne V<\/a>, Portrait of Jeanne H\u00e9buterne in Black and Red Dress<\/a>, Jeanne H\u00e9buterne in a Yellow Sweater<\/a> and Jeanne H\u00e9buterne in a White Chemise<\/a>. The full choice is in the Amedeo Modigliani gallery<\/a>, and we have written a longer article<\/a> about the painter.<\/p>\n