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"Blusa rosa"
Amedeo Modigliani - Óleo sobre lienzo - 98 x 63 cm - 1919 - Musee Angladon, Francia
El aura artística de Amedeo Modigliani a menudo está impregnada por su pose de un bohemio extravagante de la escena vanguardista parisina de principios del siglo XX. Se dice que el artista utilizó su comportamiento errático y borracho para enmascarar su meningitis tuberculosa, que fue la causa de su muerte a los 35 años. Sorprendentemente, una vida tan torturada podría producir una obra bastante serena. Sus interpretaciones estilizadas de mujeres lánguidas y melancólicas son sus obras de arte más conocidas.
Este retrato de una mujer con una blusa rosa fue pintado unos meses antes de la desaparición de Modigliani y adquirido en 1923 por Jacques Doucet. Cuando se exhibió en París en 1929, la pintura recibió excelentes críticas, siendo descrita como deslumbrante y como una de las obras de arte más bellas del maestro.
Debido a su carácter impulsivo, Modigliani no estaba inclinado a producir retratos por encargo, por lo que sus sujetos eran a menudo amigos y conocidos. La pose de la modelo, con las manos cruzadas sobre las rodillas, se asemeja a algunos retratos de Cézanne, por cuya obra Modigliani profesaba una profunda admiración. La representación realista del dormitorio, con una cama de hierro y un cuadro colgado en la pared, también encontrada en “Mujer joven del pueblo” (1918), es de lo más sorprendente ya que el artista solía privilegiar las decoraciones más abstractas. Sin embargo, la pintura debe su éxito al resplandor de la blusa de la modelo, que destaca entre los colores apagados empleados en el resto de la composición.
Modigliani exalta la disimetría del rostro de la mujer, creando una estimulante dimensión plástica a través de la acentuación de sus bordes. Esto es producto de su práctica escultórica, que tuvo que abandonar ya que las grandes y estilizadas cabezas de piedra que producía, con narices imposiblemente largas y bocas diminutas, no lograron atraer compradores, lo que lo obligó a dedicarse a la pintura y el dibujo. Sus diseños estuvieron muy influenciados por la serenidad de las tumbas del Renacimiento temprano y el arte tribal imbuido de mística, especialmente las máscaras africanas.
Los ojos del modelo están bien dibujados, destruyendo uno de los mitos que rodean su arte, ya que a menudo se dice que no pintaría las pupilas de los asientos a menos que pudiera capturar su alma. El artista solía pintar de memoria y la pincelada rápida, el rostro alargado y los ojos en blanco se convertirían en su marca registrada. La diversidad de texturas y pinceladas empleadas por Modigliani en esta pintura la hace más sabrosa.
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