Amedeo Modigliani’s late portraits suggest an abstraction and uniformization of his sitters, which he first developed in his drawings. In her article, What’s Behind Modigliani’s Trademark Portrait Style?,  Meredith Mendelsohn suggests that this stylistic tendency came from the artist’s upbringing in Italy and experience as a French-speaking, Italian Sephardic Jew in Paris during the first quarter of the 20^th Century and that his abstractions were an attempt to subvert the hegemony of European culture. In referencing the importance of Modigliani’s drawing portraits, she states: “Modigliani’s trademark stylized features resolved first in his drawing, but became fully developed in his portraiture.” In Portrait of a Woman c. 1915-17 Modigliani’s stylization of the woman’s face renders her almost ghost like. It is as if she was depersonalized into silhouette of a prototypical European woman of varied backgrounds.