One may wonder what Amedeo Modigliani, a famous Italian artist highly acclaimed for his portraits and virtuos employment of colour, has to do with 20th century beauty regimes. Seemingly not a lot, if hardly anything at all. However after our recent visit to The Tate Modern that currently holds the exhibition of the aforementioned artist’s work – The MINT team was struck with the urge to do one thing – drop by our local manicurist. While The Tate mainly showcased the artist’s penchant for saturated portraits and works between 1915-1919, the palette employed has left as much of an impact as the portrait’s themselves. Delectably saturated, neither too rich nor to sombre, the palettes vary from the deepest, warmest blues to rich ochre in one corner of the canvas, while slowly fading towards dusky pastels on the opposing end. Vivid pink is suddenly in juxtaposition to saturated dusky-blue or mossy green against let’s say muted ochre (as in the case of the portrait of his than pregnant wife Jeanne Hébuterne) providing a delicious coalition for eye to feast upon. Thus leaving the exhibition there was an air of decisiveness surrounding the MINT team – we have all embarked upon the task of somehow translating Modigliani’s work into our lives, and where better to start than with nails. Below are our favourite colour-combinations intended to bestow some artistic joy into otherwise monotonous days at the office.
- The portrait of Modiglian’s than pregnant wife, Jeanne Hébuterne, was an undisputed favourite with a contrasting palette that embraces warmth. As MINT uniform is decently minimal we are all in for painting each nail a different colour to add depth and a whimsical charm to an otherwise sleek look.
2. Modigliani’s infamous nudes have always awakened controversy, due to their unapologetic brazenness that exudes from the unhinged figures comfortably resting on the chaise lounge. The fiery red and rich earthy tones add to the works opulence – a palette perfectly suited for a Friday night out.
3. A bit more demure than the above work, we are head over heels for the rich, yet cold pink hue that Modigliani has chosen when painting the girl’s skirt, and the pale green against it ignites the promise of spring to come.
4.Gypsy Woman with Baby, 1919 contains every possible variation of blue one might imagine. Ranging from dark, almost black navy to the softest lilac. It is easy to see why the artist was captivated by this particular colour. The not completely bright orange and white add a fresh dimension to the otherwise aerie palette.