Bagatelles (Jawlensky)

from Wikipedia, the free encyclopedia
Photo-request.svg
 Image wanted 

Bagatelles is the title of a still life by the Russian painter Alexej Jawlensky . In 1986 it wasacquiredfor the Wiesbaden Museum by the museum director at the time, Arnulf Herbst . It bears the inventory number M 1029.

Technology and image carriers

The still life "Bagatelles" is an oil painting on canvas or "Repin canvas" in portrait format, 40.4 × 28.7 cm. It is signed in the top left of the picture 'A. Jawlensky ”and not dated. For the picture, there is an expertise from 1973 by the former museum director Clemens Weiler . The picture is recorded in the "Catalog Raisonné" from 1991 of the Jawlensky archive, in the Jawlensky inventory catalog from 1997 and 2014 in the Jawlensky catalog.

Condition of the painting

“The original back is not visible. [...] The painting is cropped on all sides and therefore possibly only part of a formerly larger work. "

Image description and expertise

“It is a still life that shows a porcelain figure of a Japanese woman against a blue background on the left and an upright pineapple on the right. In between there is a red apple or an orange and a green apple in the middle. At the bottom there is a horizontal stripe in red that widens to the right over the entire width of the picture. The address of Jawlensky in Munich, Giselastr., Is handwritten on an old piece of paper on the back. 23III and the original title 'Bagatelles'. The picture is likely to have been made between 1904 and 1906 and is particularly noteworthy in terms of art history because it anticipates the forms of the variations made in St. Prex between 1914 and 1917 . The pointillist, extraordinarily differentiated coloring gives the picture its special charm. The picture was acquired in 1911 by Otto Fischer , the author of the book DAS NEUE BILD, published by the Neue Künstlervereinigung München , from the painter's studio in Munich. The picture should have a current value of at least 50,000 to 60,000 Swiss francs. "

Motivational Japonisms

“Under the stylistic influence of van Gogh , two still lifes with a Japanese doll were created around 1904 as 'motivic Japonisms '”. Regarding the title, Clemens Weiler refers in his report of April 5, 1973 to the picture on a handwritten note with the information of Jawlensky's Munich address and the title "Bagatelles". However, Hilde knew Flory-Fischer, who saw the picture of her father Dr. Otto Fischer had inherited this title in her letter of July 17, 1977 to Andreas Jawlensky, but rather described it as “Still life pineapples, 2 apples u. with Japanese figurine ”. Andreas Jawlensky also did not know anything to report about a title "Bagatelles" in his report of October 11, 1977. On February 4, 1984, on a receipt from the Geneva “Galerie de la Corraterie”, the picture was simply named “Nature Morte”. The other painting, referred to simply as “still life”, shows the same Japanese doll. “It is still only the motif that reveals Japanese influence and not a stylistic adaptation. Since Jawlensky was stylistically interested in following Van Gogh and the pointillists, he covered the two pictures with small patches of color placed next to and on top of one another, like a rain of confetti. "

literature

  • Clemens Weiler: Alexej Jawlensky. Cologne 1959.
  • Maria Jawlensky, Lucia Pieroni-Jawlensky, Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné of the oil-paintings . Vol. 1, Munich 1991, p. 81 No. 78 with b / w illus.
  • Ingrid Koszinowski: Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum. 1997, p. 15 No. 2.
  • Bernd Fäthke: Jawlensky and his companions in a new light. Munich 2004.

Individual evidence

  1. ↑ Andreas Jawlensky , letter of “10/11/77” to Hilde Flory-Fischer.
  2. ^ Maria Jawlensky, Lucia Pieroni-Jawlensky, Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné of the oil-paintings . Vol. 1, Munich 1991, p. 81 No. 78 with b / w illus.
  3. ^ Ingrid Koszinowski: Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum. 1997, p. 15 No. 2 with color illus.
  4. ↑ Roman Zieglgänsberger (ed.), Exhib. Cat .: Horizont Jawlensky 1900-1914, Alexej von Jawlensky in the mirror of his encounters. Museum Wiesbaden 2014, p. 298, color illus. P. 89
  5. ^ Ingrid Koszinowski: Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum. 1997, p. 15 No. 2.
  6. ↑ Clemens Weiler, "Expert opinion" from "5.4.73", p. 1.
  7. ↑ Petra Hinz: Japonism in graphics, drawing and painting in the German-speaking countries around 1900 . Dissertation Ludwig Maximilians University Munich 1982, p. 116.
  8. ^ Maria Jawlensky, Lucia Pieroni-Jawlensky, Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné of the oil-paintings . Vol. 1, Munich 1991, No. 79, p. 82 with b / w illus.
  9. ↑ Bernd Fäthke: Von Werefkins and Jawlensky's weakness for Japanese art . In: "... the tender, spirited fantasies ...", the painters of the "Blue Rider" and Japan . Exhibition catalog, Murnau Castle Museum 2011, p. 107.