Modigliani died young, at thirty-five, a result of severe alcoholism and meningitis. In those two years, the bulk of Modigliani’s now renowned works were born. Their poverty stricken life was spent mostly in Amadeo’s tiny studio. After a brief courtship and hurried marriage, Jeanne modeled exclusively for her husband. But in the rocky stages of their marriage, Rene suffered both in social spheres and in his studio.Īmadeo & Jeanne met in art school in 1916, during Jeanne’s first year there. Rene, generally a private and introverted person, was coaxed into social situations by his wife, which ultimately earned him great commercial success as a painter. The early years of Rene Margritte’s and Georgette’s marriage were happy and she spent many hours posing (typically nude) for her new husband who previously had little interest in using live models. Georgette Magritte, 1934 (oil on canvas ) After Gala’s death, Dali ceased to paint with women models, maintaining loyalty to his muse. The artist, convinced Gala was the antidote for his mental turmoil, often used her as a subject in his work and typically depicted her with a sense of power, presiding over the canvas. After meeting Dali in 1929 her biography became permanently fused with her husband’s. Salvador Dali’s wife, whose real name is Elena Ivanovna Diakonova, was nicknamed Gala by the artist for its endearing association to olives. The “Frida and Diego” relationship is notorious, and though Kahlo is remembered largely for her self-portraits, Diego’s face has cropped up often.įrida’s fascination with her husband seemed not so much a fascination with Rivera himself, but with his effect on her, so much so that many of her portraits included her placing Diego’s face on her forehead, (in her mind) or on her breast, (in her heart). Who are those muses that seem, in some artists’ career, to be more an obsession than just a subject?īelow is a glimpse into the relationships between six modern artists and their lovers, and the impact they had on their lives.ĭiego on My Mind (Self Portrait as Tehuana), 1943 (oil on canvas) ![]() Who are those people – repeated, disassembled, studied over and over again, taken apart and put back together, sometimes appearing in portraits, sometimes appearing only as a limb or a torso.
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