La Jeune bonne c. 1918

Modigliani painted ‘La Jeune Bonne’ with, what looks like, oil on canvas with a pared down palette and elongated style. You can almost feel the artist figuring things out as he goes, making decisions as he builds up the image. The color is so interesting, how Modigliani uses shades of black to create depth and shadow in the young maid's dress. And then there's the texture of the paint itself. In certain areas, like around the face and hands, the brushstrokes are delicate and soft, almost caressing the surface. Then, you have these thicker, more gestural strokes in the background, adding a sense of movement and energy. I keep getting drawn back to the hands. The color is unexpected, but also the way they're clasped together. It's like they're holding onto some kind of secret. Looking at this, I can't help but think of artists like Paula Modersohn-Becker, who were also pushing the boundaries of portraiture in the early 20th century. Ultimately, ‘La Jeune Bonne’ reminds us that art is never really finished, it's always evolving and changing in our minds.