Andreas Jawlensky

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Andreas Jawlensky (born January 18, 1902 in the Ansbach manor near Prely in Vitebsk Governorate , Russian Empire, today: Anspoki near Preiļi in Latvia ; † July 10, 1984 in Barga , Tuscany) was a Russian-Swiss painter. Until the marriage of his father Alexej Jawlensky with his mother Helene Nesnakomoff in 1922, he carried his mother's surname, then, until the late 1920s, the double name Jawlensky-Nesnakomoff.

Born in Russia in 1902

Andreas Jawlensky was the son of the painter Alexej Jawlensky and the only 16-year-old Helene Nesnakomoff , the maid of Jawlensky's partner Marianne von Werefkin . In literature, his first name varies between Andrej, Andreas and André. Alexei Jawlensky wrote in his memoirs: "In Anspacki was born in January 1902 my son Andrei." Werefkin was Helene Nesnakomoff pregnant in the sixth month of her adopted home Munich in the for with Alexei Jawlensky and the Russian Empire belonging Latvia traveled. The purpose of the trip was to hide the true fatherhood of Andreas and the age of the young Nesnakomoff (1885–1965). Otherwise Jawlensky would have had to expect legal consequences in Bavaria, especially since he had no plans to marry Nesnakomoff. The date of birth of Andreas is mentioned for the first time in an addendum to Werefkin's passport in Russian and French according to the Gregorian calendar : "André, né le January 5th, 1902." According to the Julian calendar , it is January 18.

Childhood in Munich 1902–1914

Marianne von Werefkin: Helene Nesnakomoff (1909)

After a little more than a year in Russia, they returned to Munich on November 23, 1902 with Andreas and Helene Nesnakomoff's older "sister Marie". As a precautionary measure so that his paternity would not be discovered by the authorities, Jawlensky even passed on his son ten years later to August Macke's wife as his nephew. Andreas grew up in Munich and attended school there. They lived with his father, mother and their sister Marie under the care of the Werefkin at Giselastraße 23, on the third floor, in the Schwabing district until the outbreak of the First World War .

First attempts at painting

The literature has no reliable data on the beginnings of Andreas' painting. The first news about his artistic training dates back to 1924. According to this, the very first picture he painted was a still life . You can find out from the art historian Mela Escherich , who, along with Hanna Bekker vom Rath , Hedwig Brugmann and Lisa Kümmel, is one of the so-called “emergency helpers” of Jawlensky. She reports that in 1908 Alexej Jawlensky set up some objects in front of his six-year-old child, which the little one then “painted. The result was a series of works that were ready for exhibition. "

Thirty-five years later, in 1959, Clemens Weiler , the director of the Wiesbaden Museum at the time and the first Jawlensky biographer, told us about an even earlier date: Andreas “had already started painting as a little four-year-old in his father's studio in Munich”. So that would have been 1906. In 1978, Weiler's successor in office contradicted the earlier versions with certainty: "His first picture was taken in 1907." At that time, Andreas was five years old. A year later, Andreas Jawlensky himself intervened in the discussion about the beginning of his painting and claimed in 1979: “It was in the summer until December 1906, [...] I was four years old at the time and received a paint box from Nikolaus [...] in Wasserburg . “But Jawlensky's statement is not correct because he spent the time in question in France.

In 1987 a double-sided, 53 × 42 cm oil painting, "Flowers - Red Poppies", which Jawlensky claims to have painted when he was five, was exhibited for the first time in New York City at Hutton . It shows a certain stylistic affinity with the 49.5 × 53.5 cm oil painting “Red Flowers on a Pink Table” in the Lenbachhaus , which Jawlensky inscribed on the back on “13.III.1959” and dated “1910”. So he would have been eight years old then. In 1978, however, both pictures were not included in the Wiesbaden exhibition.

Agreement was never reached to determine Jawlensky's artistic beginnings convincingly. The dilemma is that people mostly talked about painting , but by that they meant drawings . In this respect, however, there is a credible account of the year 1910 by Mrs. Macke. During a visit with her husband in Alexej Jawlensky's Munich apartment, she got to know the early work of the adolescent Andreas and reports about it: “Many colorful children's drawings were attached to the wall with thumbtacks. Little André, then six years old, […] had painted it. Jawlensky showed them to us [...] with great pride. ”Not to be underestimated is the fact that Ms. Macke assessed Andreas - although already eight years old - as a six-year-old and unequivocally assessed his work as“ children's drawings ”and not as paintings. If Andreas had had oil paintings to show up at that time, his father would undoubtedly have shown them to his visitors with just as “great pride”. In this context it is remarkable that even Alexej Jawlensky speaks in his memoirs of “wonderful drawings” that Andreas made in the first years in Switzerland, and not of painting, even oil painting.

Trip to France in 1906

It was Alexej "Jawlensky's very big mistake" when he wrote in his memoirs : "In the spring of 1905 we all went to Brittany ." Jawlensky's depiction was believed, as did Andreas who was a four-year-old on this trip to France . It was only discovered in 2004 that this trip took place in 1906 rather than in 1905.

Alexej Jawlensky's memoirs tell you that you initially stayed at the seaside resort of Carantec . He reports on the further course of the trip: “We drove from the October exhibition in Paris to southern France to Provence and Sausset on the Mediterranean, where we stayed until Christmas […] We drove back to Munich via Geneva . We stayed in Geneva for a few days, where I visited Hodler [...] in his studio. "

Murnau 1908

Jawlensky was in Murnau with his father and Werefkin , where he also met Münter and Kandinsky . As for his painting at the time, Alexej Jawlensky wrote in his memoirs: "In Murnau [...] he painted very beautiful still lifes and landscapes."

On the Baltic Sea in 1911

Alexej Jawlensky recounts in his memoirs: “In the spring of 1911 we went to the Baltic Sea to Prerow , Werefkin, André, Helene and me.” He also informs about the stay on the Darß peninsula that Andreas “painted very beautiful still lifes and landscapes in Prerow ". In this situation it seems curious that Andreas Jawlensky claimed in 1983 that his father used his “child's picture” from his “earliest youth”, “Still life with a green bottle” , to paint the “Church in Prerow” on its back in 1911 . In a letter dated June 23, 1971, he had written to Clemens Weiler: “It's not even from me.” As a result, Andreas Jawlensky provided paradoxical information on the same facts about the formerly related images, which “only split in 1970 in Wiesbaden were ". These and other contradictions were commented on in 1983 as follows: “Of course, it is well known that the […] artist's children in particular caused quite a stir about the work of their […] fathers or were not always their most reliable witnesses or administrators. In the case of the present picture, one may also wonder with astonishment whether a little boy should really have painted it. "

Oberstdorf 1912

According to a photograph, Jawlensky spent the summer of 1912 with his father, mother and Werefkin in Oberstdorf , where they were visited by Dmitry Kardowsky , his wife and daughter.

Malmo 1914

In Jawlensky's vita , an exhibition that took place in Sweden always plays a role. In 1971 one learns about it: “At the age of six he already received a Swedish award, namely the gold medal from the Swedish king.” In 1983, Jawlensky spoke up on the matter and asserted: “That he [...] was eight years old with the people of Munich Exhibited painters in Malmö and was awarded a medal for being something of a child prodigy ”. Only three years later, in 1986, one reads: “In 1912, the ten-year-old's works were shown at an exhibition in Stockholm and were awarded a King’s Prize.” Another year later - in 1987 - one finds Jawlensky, Father and Son in the New York exhibition catalog no new date, but otherwise the same wording: “In 1912 Andreas exhibited his work in Stockholm and was awarded a prize by the Swedish king.” Neither Jawlensky's report nor the statements by its authors are correct, because the exhibition was about the Baltisk Utställningen , which took place from May 15 to October 4, 1914 in Pildammspark in Malmö. The artists from Munich were invited to participate by the Swedish painter Oscar Björck . He only invited artists from the countries bordering the Baltic Sea to this exhibition. Besides Werefkin, Alexej Jawlensky and Andreas u. a. the following Russians were invited: Dawid Dawidowitsch Burljuk and Wladimir Dawidowitsch Burljuk , Robert Genin , Pjotr ​​Petrowitsch Konchalowski , Michail Fjodorowitsch Larionow and Aristarch Wassiljewitsch Lentulow . The patron was the then Crown Prince , who later became King Gustav Adolf VI. The ruling king in that year 1914 was still his father, Gustav V.

Youth in Switzerland 1914–1922

Germany declared war on Russia on August 1, 1914, which started World War I. Similar to Kandinsky, accompanied by Münter and his divorced wife Anja, Alexej Jawlensky and Werefkin fled to Switzerland with their maid Helene Nesnakomoff and 12-year-old Andreas. On August 3, 1914, the train traveled from Munich to Lindau on Lake Constance . A Swiss ship was waiting for the emigrants there.

Looking back, in 1927, Andreas Jawlensky described the years in Switzerland as “years of narrowness; in the dry air of a school's office, for a while he believed himself to be pushed away without hesitation from the world of new colors, from wind, mountain and sea and the whole of life. "

In St. Prex 1914–1917

After moving to Saint-Prex in the canton of Vaud on Lake Geneva , “Andreas was encouraged to draw by his father for two years”. Alexej Jawlensky comments on this: “In St. Prex [...] I gave André paper and pencil, and the first thing he drew [...] was so amazingly good and graphically correct that one could think that he had been black and white for several years. worked white. ”So, so far, Andreas would have mainly worked with colored pencils.

In Geneva at Hodler's 1915

Jawlenskys reports in his memoir:

“In the spring of 1915 I went to Geneva with André Hodler . I went straight to Hodler while André stayed in Geneva to make drawings. […] I was just talking to Hodler when André came barefoot, as he always went back then; I introduced him to Hodler and said that he always draws and paints. Hodler immediately looked at his two drawings he had made in Geneva with great attention and admired them very much. He wanted to swap places with André. He took a drawing of him and gave him two drawings of himself with a dedication, the central figure from the picture The Day . He spoke to me in French very enthusiastically about Andrés drawing and said: 'I have seldom seen a person so gifted for harmony'. "

- Alexej Jawlensky : Memoirs

When Alexej Jawlensky met Galka Scheyer in Lausanne in 1916 , “she came to see us in St. Prex a few days later.” Andreas must have met her for the first time in those days.

In Zurich 1917–1918

In mid-September 1917, “Jawlensky and André […] were looking for an apartment in Zurich ”, where they found a larger apartment in Zurich-Wollishofen . In Zurich they met Alexander Sacharoff again with his wife Clotilde von Derp .

In Ascona 1918–1922

In 1918 they moved to Ascona on Lake Maggiore . Werefkin, Alexej Jawlensky and Andreas probably got to know the Basel businessman and art collector Karl Im Obersteg in Ascona in 1919 through their friend Cuno Amiet .

A break-in in the Munich apartment enabled Werefkin to obtain a residence permit from the Munich Police Department for himself, Alexej Jawlensky, Helene Nesnakomoff and Andreas on June 10, 1920, and to summon witnesses for himself and Nesnakomoff. Werefkin's ID card shows that May 5th was the day she entered Germany and July 15, 1920 was the day she left Ascona. Between these two dates, the apartment was liquidated in Munich's Giselastraße.

Alexej Jawlensky moved to Wiesbaden in 1921 and arrived there on June 1st. In September and October, Andreas from Ascona tried to sell pictures by Hodler and Paul Gauguin that his father and the Werefkin owned with Im Obersteg's help . In 1922 Helene Nesnakomoff and Andreas also came to Wiesbaden.

In Wiesbaden 1922–1941

On June 23, 1922, Andreas had already entered himself in the guest book of the art collector Heinrich Kirchhoff : "Andrei Nesnakomoff-Jawlensky, painter, Ascona / Tessin." His mother's civil marriage with Alexej Jawlensky took place on July 20, 1922 in Wiesbaden. The family initially lived on Nikolasstrasse 3, on the third floor. She later moved into the immediate vicinity of Kirchhoff, at Beethovenstrasse 36. Jawlensky wrote to Scheyer: "André will have a large studio."

Around 1924 Andreas Jawlensky was commissioned to paint the chapel in the Sonnenberg cemetery. In 1925 he belonged to the Free Art Association of Wiesbaden with another 25 members . In order to earn a living, he had initially "managed a tea and coffee shop in Wiesbaden".

On May 5, 1927, Jawlensky got his first marriage to Maria Katharina Schmuck, "a born angel". The honeymoon went to France in June 1927. The couple visited u. a. Chartres , Fontainebleau , Versailles , Paris and the island of Ouessant . After the marriage, Jawlensky was a branch manager in his brother-in-law's cigarette shop at Schwalbacher Straße 62.

In 1928 Alexej and Helene as well as Andreas and Maria Jawlensky moved to Beethovenstrasse 9. At that time Andreas also worked “for Erdal (Schuhcrème Fabrick in Mainz ) advertising & it would be very good for us financially if he could familiarize himself with this subject." Alexej Jawlensky recalled his first daughter-in-law: “She was a lovely woman and I loved her very much. Unfortunately she died early in 1933. "

Alexej Jawlensky regretted that his son had stopped painting three years later. He wrote to Paul Klee on October 16, 1936: “André is completely away from art and always thinks about marriage. What a shame. ”In 1937 Jawlensky took on German citizenship.

The following entry can be found in the diary of the Wiesbaden painter Lisa Kümmel about the new marriage with Luise Franziska Euler on March 8, 1941 : “Saturday before his [Alexej Jawlensky's] death, his son Andrej married for the second time. All of this upset him very much, the preparations for these celebrations, and then he was very much against this wedding. He didn't love this daughter-in-law. "

Second World War and prisoner of war 1941–1955

Andreas Jawlensky was drafted into the military in 1941; in June he was " in position in Koblenz ". "Approx. Ordered to Russia at the beginning of September ”, he was“ used as an interpreter […] ”there.

In 1944 he met his future third wife, Maria Biblikow. While withdrawing from the Red Army , he was taken prisoner by the Soviets in Brandenburg , while the young woman ended up in Wiesbaden. There she saw how “almost all of Andreas' early works were lost” on the night of bombing from February 2nd to 3rd, 1945 .

Andreas survived his captivity in the Soviet Union "under difficult conditions". Initially "sentenced to death for a statement, then pardoned to 25 years, he was sentenced to hard work in Siberia and the Urals ." In 1951 he was a member of a labor brigade of German prisoners of war on the Volga near Stalingrad .

Back in Wiesbaden 1955–1956

On October 17, 1955, Andreas came to Wiesbaden with five other comrades as a late returnee . One day later, the Wiesbadener Tagblatt showed a photo of "Andreas von Jawlensky with his loved ones", his now eleven-year-old daughter Lucia and Maria Biblikow-Künzel, whom he married on November 28, 1955 in third marriage. "In order to be able to get married faster," he wrote to Im Obersteg on December 14, 1955, "he had a lot of running from office to office". This was followed by a vacation / spa stay for the family in Bad König .

First he found a job as an employee at the Wiesbaden State Building Office.

In Switzerland 1956–1984

The invasion of Hungary by Soviet troops in 1956 caused Andreas Jawlensky to move back to Switzerland with his family and his mother Helene Jawlensky. Felix Klee commented on this decision: “How wise and foresighted that you chose Switzerland as your home.” The family found their place of residence in Locarno on Lake Maggiore. In 1974 Jawlensky became a Swiss citizen.

Resumption of painting

In Locarno, on the advice of his friends, Jawlensky took up painting again after twenty years of artistic abstinence and found " his painterly themes in the lush Ticino landscapes and luminous still lifes".

Andreas Jawlensky in his father's catalog raisonné

Clemens Weiler wrote on Jawlensky's 70th birthday: "You have selflessly subordinated your own and hopeful artistic career to the service of your father's work."

If you leaf through Alexej Jawlensky's four-volume Catalog Raisonné , you discover that Andreas immortalized himself countless times in his father's pictures. For example, he gave titles to a number of paintings, including a “And do not lead me into temptation” or “Hades god of the underworld”. In particular, many of his dates on the back of the paintings have long made connoisseurs skeptical. However, after two Jawlensky forgeries were unmasked in the Kunsthalle in Emden in 2013 , it was a matter of time that the first doubts about the dating of Andreas Jawlensky in his father's catalog raisonné would become public. Surprisingly, the Wiesbaden Museum started with its exhibition “Horizont Jawlensky 1900–1914, Alexej von Jawlensky in the mirror of his encounters”. The two paintings “Helene fifteen years old” and “Andreas Garten Carantec” were initially affected by corrections .

The portrait of the fifteen-year-old girl is dated 1900 in the picture and signed “A. Jawlensky ”signed. On the back, Andreas gave the painting a title and also confirmed the originality of the date and signature on the front. However, in 2014, in Wiesbaden, the information provided by Andreas was questioned and at the same time the authenticity of the dating and signature on the front was questioned by now dating the picture “around 1900”. Consequently, it was said that the picture - contrary to the date specified by Andreas - could also have been made in 1899 or 1901.

Andreas Jawlensky was charged with another incorrect dating for the view of a garden. The reason for this was provided by the information that Andreas put on the back of the picture. He gave the picture dated 1905, which was previously called "Carantec-Bretagne" , the title "Andreas Garten Carantec" . But in 1905 Andreas was not in France, which has been known since 2004. In the Wiesbaden exhibition the picture was dated “1905/06” and thus transported in an atavistic way the year 1905 as unnecessary ballast with ten years delay in the exhibition catalog.

Exhibitions

Solo exhibitions

  • 1959 Alex Vömel Gallery, Düsseldorf
  • 1964 Dalzell Hatfield Galleries Art Dealer, Los Angeles
  • 1978 Museum Wiesbaden
  • 1986 Gerhart Söhn art dealer, Düsseldorf

Group exhibitions

literature

  • Mela Escherich : Andre Nesnakomoff-Jawlensky. In: The Cicerone . XVI. Vol., 1924, p. 311 ff
  • ch. [Mela Escherich]: About the association "Freie Künstlerschaft Wiesbaden". In: The Cicerone , XVIII. Vol., 1926, p. 683
  • Armin Kesser : “Le fou” - a Russian painter. Frankfurter Zeitung, March 3, 1927
  • Leopold Mohren: Andreas Jawlensky on his 70th birthday. In: Andreas Jawlensky 70 years . Hanau 1971
  • Ulrich Schmidt: The beautiful world of Andreas Jawlensky. Museum Wiesbaden, issue 12, April 1978

Individual evidence

  1. ^ Brigitte Roßbeck: Marianne von Werefkin. The Russian from the Blue Rider's circle. Siedler, Munich 2010, fn. 57.
  2. ^ Letter from Andreas Jawlensky to Karl Im Obersteg on January 10, 1929
  3. ↑ Gerhard Söhn (ed.): Andreas Jawlensky. In the shadow of the famous father. Edition GS, Düsseldorf 1986, p. 10.
  4. ↑ a b Alexej Jawlensky: Memoirs. In: Clemens Weiler (ed.): Alexej Jawlensky. Heads - faces - meditations. Dr. Hans Peters Verlag, Hanau 1970, p. 109.
  5. ↑ Bernd Fäthke: Alexej Jawlensky. Drawing - graphics - documents. Exhibition catalog. Museum Wiesbaden 1983, p. 53, cat. No. 81; ders .: Marianne Werefkin. Hirmer, Munich 2001, p. 54, Doc. 5.
  6. ↑ Bernd Fäthke: Marianne Werefkin. Hirmer, Munich 2001, p. 55 ff.
  7. ↑ Elisabeth Erdmann-Macke, Memories of August Macke, Frankfurt 1987, p. 238 ff.
  8. ↑ Alexander Hildebrand, Alexej Jawlensky in Wiesbaden Reflexe on Life and Work (1921–1941), in the exhibition catalog of Jawlensky's Japanese woodcut collection. A fairytale discovery. Edition of the Administration of State Palaces and Gardens, Bad Homburg vdH, No. 2, 1992, p. 56 ff
  9. ↑ Mela Escherich, Andre Nesnakomoff-Jawlensky, Der Cicerone, bi-monthly publication for artists, art lovers and collectors, XVI. Jg., 1924, XVII JG., 1925, p. 311
  10. ↑ Clemens Weiler, Alexej Jawlensky, Cologne 1959, p. 109.
  11. ↑ Ulrich Schmidt, The beautiful world of Andreas Jawlensky, paintings, pastels, watercolors, graphics, exh. Cat .: Museum Wiesbaden, Wiesbaden 1978, p. 2
  12. ↑ Gottlieb Leinz, Jawlensky's stay in Wasserburg 1906/07, in exh. Cat .: Alexej Jawlensky, From image to original, Gallery in the Ganserhaus, Wasserburg am Inn 1979, p. 25 and note 5
  13. ↑ Bernd Fäthke, Werefkin and Jawlensky with son Andreas in the “Murnauer Zeit”, in exhib. Cat .: 1908–2008, 100 Years Ago, Kandinsky, Münter, Jawlensky, Werefkin in Murnau, Murnau Castle Museum 2008, p. 46 ff
  14. ↑ Exhib. Cat .: Jawlensky, Father and Son, Leonard Hutton Galleries, New York 1987, S 7, Fig. 1
  15. ↑ Rosel Gollek, Der Blaue Reiter im Lenbachhaus Munich, catalog of the collection in the Städtische Galerie, Munich 1974, p. 48
  16. ↑ Ulrich Schmidt, The beautiful world of Andreas Jawlensky, paintings, pastels, watercolors, graphics, exh. Cat .: Museum Wiesbaden, Wiesbaden 1978
  17. ^ Elisabeth Erdmann-Macke, Memories of August Macke, Frankfurt 1987, p. 240
  18. ↑ Bernd Fäthke, Werefkin and Jawlensky with son Andreas in the “Murnauer Zeit”, in exhib. Cat .: 1908–2008, 100 Years Ago, Kandinsky, Münter, Jawlensky, Werefkin in Murnau, Schlossmuseum Murnau 2008, p. 44
  19. ↑ Alexej Jawlensky: Memoirs. In: Clemens Weiler (ed.): Alexej Jawlensky. Heads - faces - meditations. Dr. Hans Peters Verlag, Hanau 1970, p. 110 f.
  20. ↑ Bernd Fäthke, Jawlensky and his companions in a new light, Munich 2004, p. 75 ff
  21. ↑ Alexej Jawlensky: Memoirs. In: Clemens Weiler (ed.): Alexej Jawlensky. Heads - faces - meditations. Dr. Hans Peters Verlag, Hanau 1970, p. 110 f.
  22. ↑ Exhib. Cat .: Gabriele Münter - The Years with Kandinsky, Photographs 1902–1914, Städtische Galerie im Lenbachhaus, Munich 2007, pp. 188 and 189
  23. ↑ a b c d Alexej Jawlensky: Memoirs. In: Clemens Weiler (ed.): Alexej Jawlensky. Heads - faces - meditations. Dr. Hans Peters Verlag, Hanau 1970, p. 117.
  24. ↑ Alexej Jawlensky: Memoirs. In: Clemens Weiler (ed.): Alexej Jawlensky. Heads - faces - meditations. Dr. Hans Peters Verlag, Hanau 1970, p. 112.
  25. ↑ Bruno Russ, The 40th Jawlensky who painted him? The painter's son says: It's a child's picture of me, Wiesbadener Kurier, 10./11. September 1983, p. 9
  26. ^ Museum Wiesbaden, Inv. No. 995
  27. ↑ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (Eds.), Alexej von Jawlensky, Catalog Raisonné of the oil-paintings, Vol. 1, Munich 1991, No. 422, p. 331
  28. ↑ Bernd Fäthke, The Jawlensky case. Original copy forgery, supplement to WELTKUNST from March 1, 1996, p. 10, notes 95 and 43
  29. ↑ Bruno Russ, discussion around 40. Jawlensky, counter arguments and a lecture, Wiesbadener Kurier, 23 September 1983, p. 11
  30. ↑ Bruno Russ, The 40th Jawlensky who painted him? The painter's son says: It's a child's picture of me, Wiesbadener Kurier, 10./11. September 1983, p. 9
  31. ↑ Bernd Fäthke, Jawlensky and his companions in a new light, Munich 2004, p. 162, fig. 211
  32. ↑ Leopold Mohren, Russia 1951, in: My beloved Andreas on his 70th birthday, Hanau 1971, o. P.
  33. ↑ Bruno Russ, discussion around 40. Jawlensky, counter arguments and a lecture, Wiesbadener Kurier, 23 September 1983, p. 11
  34. ↑ Gerhard Söhn (ed.), Andreas Jawlensky, Im Schatten des famous Father, Düsseldorf 1986, p. 37
  35. ↑ Exhib. Cat .: Jawlensky, Father and Son, Leonard Hutton Galleries, New York 1987, p. 5
  36. ^ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.), Alexej von Jawlensky, Catalog Raisonné of the oil-paintings, Vol. 3, Munich 1993, p. 448
  37. ↑ http://robertgenin.org/
  38. ^ Brigitte Roßbeck, Marianne von Werefkin, Die Russin from the circle of the Blue Rider, Munich 2010, p. 165
  39. ↑ Gisela Kleine, Gabriele Münter and Wassily Kandinsky, biography of a couple, Frankfurt / M. 1990, p. 451
  40. ^ Armin Kesser: "Le fou" - A Russian painter, "Frankfurter Zeitung", March 3, 1927
  41. ↑ Gerhard Söhn (ed.), Andreas Jawlensky, Im Schatten des famous Father, Düsseldorf 1986, p. 37
  42. ↑ Alexej Jawlensky, Memorabilia, in: Clemens Weiler (Ed.), Alexej Jawlensky, Heads-Face-Meditations, Hanau 1970, p. 118.
  43. ↑ Barbara Glauert (eds.), Claire Goll / Iwan Goll, Meiner Seele Töne, The literary document of a life between art and love recorded in their letters, Bern 1978, p. 17 ff
  44. ↑ Angelika Affentranger-Kirchrath, p. Exhib. Cat .: Jawlensky in Switzerland 1914–1921, encounters with Arp, Hodler, Janco, Klee, Lehmbruck, Richter, Teubler-Arp, Kunsthaus Zürich 2000, p. 89
  45. ↑ Alexej Jawlensky, Memorabilia, in: Clemens Weiler (Ed.), Alexej Jawlensky, Heads-Face-Meditations, Hanau 1970, p. 118
  46. ↑ Henriette Mentha, The exchange of letters with Alexej von Jawlensky (1864–1941), in: The exchange of letters with Alexej von Jawlensky (1864–1941) in:> You dear Herr Im Obersteg, are our Swiss for everything <, exchange of letters with Cuno Amiet, Robert Genin, Alexej von Jawlensky, Alexander and Clotilde Sacharoff, Marc Chagall, Ernst Ludwig Kirchner and Wassily Kandinsky in the Im Obersteg Collection, Basel 2011, p. 77
  47. ↑ Bernd Fäthke, Alexej Jawlensky, drawing-graphic documents, exh. Cat .: Museum Wiesbaden 1983, Cat.Nos. 92, 93 and 94.
  48. ↑ Bernd Fäthke: Marianne Werefkin. Hirmer, Munich 2001, p. 200 f.
  49. ↑ Alexej Jawlensky, Memorabilia, in: Clemens Weiler (Ed.), Alexej Jawlensky, Heads-Face-Meditations, Hanau 1970, p. 119 f
  50. ↑ Letters from September 28, October 6 and October 27, 1921, see: http://www.sammlung-im-obersteg.ch/files/layout/AndreJawlensky-alle_Briefeohne_FN-korr.pdf
  51. ^ Entry from June 23, 1922
  52. ↑ Katja Förster / Stefan Frey, “In intimate friendship”, Alexej Jawlensky, Paul and Lily Klee, Marianne Werefkin, Zurich 2013, p. 144.
  53. ^ Helgard Lau-Wegner, Andreas von Jawlensky, Wiesbadener Leben, 8/1984, p. 11
  54. ↑ Katja Förster / Stefan Frey, “In intimate friendship”, Alexej Jawlensky, Paul and Lily Klee, Marianne Werefkin, Zurich 2013, p. 205
  55. ↑ Alexej Jawlensky, Memorabilia, in: Clemens Weiler (ed.), Alexej Jawlensky, Heads-Face-Meditations, Hanau 1970, p. 120
  56. ↑ Katja Förster / Stefan Frey, “In intimate friendship”, Alexej Jawlensky, Paul and Lily Klee, Marianne Werefkin, Zurich 2013, pp. 138–141.
  57. ↑ Katja Förster / Stefan Frey, "In intimate friendship", Alexej Jawlensky, Paul and Lily Klee, Marianne Werefkin, Zurich 2013, p. 141
  58. ↑ Katja Förster / Stefan Frey, “In intimate friendship”, Alexej Jawlensky, Paul and Lily Klee, Marianne Werefkin, Zurich 2013, pp. 138 and 143.
  59. ^ Joint letter from Andreas Jawlensky and his wife Maria dated November 30, 1928, see: http://www.sammlung-im-obersteg.ch/files/layout/AndreJawlensky-alle_Briefeohne_FN-korr.pdf
  60. ↑ Alexej Jawlensky, Memorabilia, in: Clemens Weiler (ed.), Alexej Jawlensky, Heads-Face-Meditations, Hanau 1970, p. 120.
  61. ↑ Katja Förster / Stefan Frey, “In intimate friendship”, Alexej Jawlensky, Paul and Lily Klee, Marianne Werefkin, Zurich 2013, p. 202.
  62. ^ Helga Lukowsky, Jawlenskys Abendsonne, The painter and the artist Lisa Kümmel, Königstein / Taunus 2000, p. 130.
  63. ↑ Katja Förster / Stefan Frey, “In intimate friendship”, Alexej Jawlensky, Paul and Lily Klee, Marianne Werefkin, Zurich 2013, p. 281.
  64. ↑ Katja Förster / Stefan Frey, “In intimate friendship”, Alexej Jawlensky, Paul and Lily Klee, Marianne Werefkin, Zurich 2013, p. 244.
  65. ↑ Gerhard Söhn (ed.), Andreas Jawlensky, Im Schatten des famous Father, Düsseldorf 1986, p. 39
  66. ↑ Alexander Hildebrand, Andreas Jawlensky, The Pictures of the Beautiful World, For the 80th Birthday of the Painter, Wiesbadener Kurier, January 16, 1982, p. 7.
  67. ↑ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.), Alexej von Jawlensky, Catalog Raisonné of the oil-paintings, Vol. 3, Munich 1993, p. 34.
  68. ↑ Gerhard Söhn (ed.), Andreas Jawlensky, Im Schatten des famous Father, Düsseldorf 1986, p. 39.
  69. ↑ Alexander Hildebrand, Andreas Jawlensky, The Pictures of the Beautiful World, For the 80th Birthday of the Painter, Wiesbadener Kurier, January 16, 1982, p. 7.
  70. ↑ Leopold Mohren, Russia 1951, in: My beloved Andreas on his 70th birthday, Hanau 1971, o. P.
  71. ↑ Herbst / Rudoph, The first snapshots (photo report), Wiesbadener Kurier October 17, 1955.
  72. ↑ Alexander Hildebrand, Andreas Jawlensky, The Pictures of the Beautiful World, For the 80th Birthday of the Painter, Wiesbadener Kurier, January 16, 1982, p. 7
  73. ↑ Scheffler, Happy Homecoming (photo report), Wiesbadener Tagblatt, October 18, 1955.
  74. ↑ "Yesterday Andreas Jawlensky married his bride Maria Biblikow", (photo report), Wiesbadener Kurier November 25, 1955.
  75. ↑ http://www.sammlung-im-obersteg.ch/files/layout/AndreJawlensky-alle_Briefeohne_FN-korr.pdf
  76. ↑ Leopold Mohren, Russia 1951, in: My beloved Andreas on his 70th birthday, Hanau 1971, o. P.
  77. ^ Helgard Lau-Wegner, Andreas von Jawlensky, Wiesbadener Leben, 8/1984, p. 11.
  78. ↑ Maria Linsmann, Jawlensky - Father and Son, in exhib. Cat .: Alexej von Jawlensky, Andreas Jawlensky, "Father and Son", Galerie Ludorff Düsseldorf 1993/94, p. 1.
  79. ↑ Leopold Mohren, Russia 1951, in: My beloved Andreas on his 70th birthday, Hanau 1971, o. P.
  80. ↑ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.), Alexej von Jawlensky, Catalog Raisonné of the oil-paintings, Vol. 3, Munich 1993, No. 1696, p. 132.
  81. ^ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.), Alexej von Jawlensky, Catalog Raisonné of the oil-paintings, Vol. 3, Munich 1993, No. 2194, p. 371.
  82. ↑ http://www.oz-online.de/-news/artikel/118453/Gefaelscht-Bilder-in-Emder-Kunsthalle-entdeck
  83. ↑ http://www.on-online.de/-news/artikel/118470/Kunsthalle-Emden-nnahm-zwei-Faelschungen-aus-der-Sammlung
  84. ↑ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.), Alexej von Jawlensky, Catalog Raisonné of the oil-paintings, Vol. 1, Munich 1991, No. 13, p. 44.
  85. ^ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.), Alexej von Jawlensky, Catalog Raisonné of the oil-paintings, Vol. 1, Munich 1991, No. 103, p. 104.
  86. ↑ Roman Zieglgänsberger (ed.), Exhib. Cat .: Horizont Jawlensky 1900–1914, Alexej von Jawlensky in the mirror of his encounters, Museum Wiesbaden 2014, cat. No. 3, ill. P. 73
  87. ↑ Bernd Fäthke, Jawlensky and his companions in a new light, Munich 2004, p. 75 ff.
  88. ↑ Roman Zieglgänsberger (ed.), Exhib. Cat .: Horizont Jawlensky 1900–1914, Alexej von Jawlensky in the mirror of his encounters, Museum Wiesbaden 2014, cat. No. 3, ill. P. 73.
personal data
SURNAME Jawlensky, Andreas
BRIEF DESCRIPTION Russian-German-Swiss painter
DATE OF BIRTH January 18, 1902
PLACE OF BIRTH Gut Ansbach near Prely , Vitebsk Governorate
DATE OF DEATH July 10, 1984
Place of death Barga , Tuscany