By the time Amedeo Modigliani painted this portrait, he had developed his distinctive style of representing the figure. Here, the young woman’s elongated face and stylized features demonstrate the artist’s interest in a range of art, including African carvings and Cambodian sculptures as well as thirteenth-century paintings and sculptures from his native Italy, all of which he would have been able to view in Paris.The sitter is most likely Germaine Labaye, an aspiring painter and close friend of Jeanne Hébuterne, Modigliani’s partner and frequent model.

Wall label, 2021.

• Patani, Osvaldo. Amadeo Modigliani: Catalogo generale, dipinti. Milan: Leonardo Editore, 1991.
• The Armand Hammer Collection: October 2-December 30, 1969. Memphis: Brooks Memorial Art Gallery, 1969.
• Amedeo Modigliani; loan exhibition, October 14-November 13, 1971, for the benefit of the Museum of Modern Art, New York.  New York: Acquavella Galleries, Inc., 1971.
• Wayne, Kenneth.  Modigliani and the Artist of Montparnasse.  Buffalo, New York: The Buffalo Fine Arts Academy, 2002.
• Muchnic, Suzanne. LACMA So Far: Portrait of a Museum in the Making. San Marino, California: Huntington Library, Art Collections, and Botanical Gardens, 2015.
• Fraquelli, Simonetta and Nancy Ireson, eds. Modigliani. New York: Skira Rizzoli, 2017.
• King, Annette, Isabelle Duvernois, Joe Fronek, Joyce H. Townsend, and Silvia A. Centeno. "The Modigliani Technical Research Study: Modigliani in the South of France." Burlington Magazine 160 no.1382 (May 2018): 394-399.