See Also: Modigliani, Amedeo(encyclopedia)
Modigliani, Amedeo(dictionary)
Modigliani, Franco(encyclopedia)
Modigliani and Miller Proposition I(money)
Modigliani and Miller Proposition II(money)
Modigliani Inversiones, SICAV, S.A.(finance)
Modigliani and Miller Proposition I(finance)

considerable (iou) and Modigliani, Amedeo (sh)


considerable (iou)



considerable adjective, noun, & adverb. LME.
[medieval Latin considerabilis worthy to be considered, from Latin considerare: see CONSIDER, -ABLE.]
A. adjective.
That may be considered or viewed. rare. LME-M17.
That should be considered or taken into account; notable. L16-E18.
Worthy of consideration or regard; of consequence. (Passing into sense 4.) E17.
W. Field The daughter of a considerable potter in that neighbourhood.
Worthy of consideration by reason of magnitude; somewhat large in amount, extent, duration, etc.; a good deal of (an immaterial or (chiefly US) material thing). M17.
Conan Doyle A great wandering house, standing in a considerable park. D. L. Sayers She evidently gave considerable thought to the subject. W. Boyd The flow of traffic was considerable.
b. noun.
A thing to be considered; a point etc. worth considering. M-L17.
A fair amount or quantity (of), a good deal, much. US. L17.
W. Faulkner Maybe a considerable of almost anything else. I. Shaw I've heard considerable about you.
C. adverb. = considerably. Now US & dial. L17.
considera'bility noun (rare) M17.
considerableness noun (now rare) M17.
considerably adverb (a) in a way or to a degree that ought to be noticed; (b) to a large extent, much, a good deal: M17.

Modigliani, Amedeo (sh)




born July 12, 1884, Livorno, Italy
died Jan. 24, 1920, Paris, France

Italian painter and sculptor.

After studying Art in Italy, he settled in Paris (1906), where he exhibited several paintings at the Salon des Independants in 1908. Following the advice of Constantin Brancusi, he studied African sculpture and in 1912 exhibited 12 stone heads whose simplified and elongated forms reflect African influence. When he returned to painting, his portraits and nudes
characterized by asymmetry of composition, elongation of the figure, and a simplification of outline
reflected the style of his sculpture. By almost eliminating chiaroscuro, he achieved a sculptural quality by the strength of his contours and the richness of juxtaposed colours. In 1917 he began painting a series of female nudes that, with their warm, glowing colours and sensuous, rounded forms, are among his best works. His work reflects his lifelong admiration for Italian Renaissance masters, as well as the influence of Paul Cezanne and Brancusi. He died at 35 of tuberculosis.


Self-Portrait, oil on canvas by Amedeo Modigliani, 1919; in the Museum of Contemporary Art ...

Courtesy of the Museu de Arte Contemporanea da Universidade de Sao Paulo, gift of Mr. Francisco M. Sobrinho and Mrs. Yolanda Penteado; photograph, Gerson Zanini