The suffering of the artist becomes the consumption of entertaining the eyes and ears of the audience. I couldn't bear it, so I looked up the Modigliani collection of Master Art Weekly, as a show of respect. The geometric structure of the oval composition is characteristic of Modigliani's figure paintings. Staring at his figure paintings makes people intuitively think of Lin Daiyu's narrow face and narrow shoulders, with a sense of distance. If Modigliani came to paint Lin Daiyu, he wouldn't have to bother. By the way, I also flipped through Utrio's collection of paintings. Utrio is a friend of Modigliani. There is a short passage of Utrio in the movie, and I remember this person at that time. I prefer Utrio's paintings. The buildings he painted are simple and honest in every ambiguity.
Although I have mixed feelings about Modigliani, I am moved by the group portrait of a group of artists in a Parisian bistro in the early 20th century - what a good time. Besides this group of artists, another one with a clearer face is Jenny Modigliani, who deeply loves Modigliani. Jeanne Hebuterne. Seeing her squatting on the toilet and brushing the toilet with such ferocity, she was so daring and desperate, it was shocking.
Some places don't feel right. The main scene is in Paris, and the people in the play speak English, which makes it difficult for people to have a sense of presence. Furthermore, why is the third point of the nude woman in Modigliani's painting all mosaics? (dissatisfied)
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