Peasant girl with a bonnet

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“Peasant girl with a hood” is the title of a painting by the Russian painter Alexej Jawlensky . The picture is signed lower left with “A. Jawlensky ”, monogrammed“ AJ ”in the upper left, but not dated. The "original back is not visible." In 1971 it was acquired for the Wiesbaden Museum by the then museum director Ulrich Schmidt . It has the inventory number M 888 there.

Technology and image carriers

The portrait “Peasant Girl with Hood” is an oil painting in portrait format, 58 × 39 cm. The painting is listed (without specifying the image carrier) in Clemens Weiler's "workshop directory" from 1970 . The image carrier is given in 1991 as “cardboard on masonite ”, in 1997 as “painting paper, laid on hardboard”, and in 2014 as “oil on cardboard”.

Image description

“As with all early portraits, the image of this peasant girl with a traditional hood is so broad that the model is also characterized by posture and clothing. Another portrait of this model with the characteristic traditional bonnet, with a somewhat tighter cutout, is now in private ownership. "

The highlight

An unfamiliar hand “tampered with this picture, added just a single brushstroke too much, and thereby provides us with a key to discovering a fraud in Jawlensky's work. The tell-tale brushstroke is the bright 'highlight' at the top right end of the back of the chair on which the peasant girl is sitting. These 'highlights' are [...] painterly elements from realism with which the artists used to effectively stage metal or highly polished objects. […] However, in a painting by Jawlensky a 'highlight' is against his artist's will. As a budding expressionist, Jawlensky tried hard to get away from the 'false gloss of color'. The strange hand that subjected our picture to cosmetic treatment obviously knew nothing of Jawlensky's artistic endeavors. Because with the 'highlight' she brought exactly what Jawlensky's picture did not want, namely naturalism and materiality. The striking 'highlight', which gives us cause for doubt as to the originality of the picture in its present-day appearance, naturally required further thorough investigation. These were carried out in the workshops of the Wiesbaden Museum. They showed that our picture is completely painted over by the other hand. Under the stereo microscope , magnified 100 to 450 times, one can see that the painting by the strange hand lies over Jawlensky's brush strokes. The determination of the exact circumstances shows that our picture has suffered a difficult fate and has been immensely damaged. With the naked eye, if you look closely at the original, you can see the following: at least twenty-four 'patches' were placed on the back of the painting paper to mend cracks and holes in the picture. They press their way through the paper like a relief. The upper edge of the picture has been trimmed, the other edges are damaged and partly show severe breakouts. Above all these injuries, color eruptions, retouching and even on the cardboard to which the painting paper was applied, lies the strange painting. [...] According to current knowledge, there does not seem to be any technical means for the Wiesbaden picture to be restored to its original state. "

Dating

The dates for the "peasant girl with a hood" are: "1906", "around 1906"; identical to “c. 1906 ”, furthermore“ around 1906/07 ”.

The latter date was moved very close to the year 1908, the memorable date when the two artist couples Werefkin and Jawlensky painted closely together with Münter and Kandinsky in Murnau and "initiated the beginning of expressive painting in Germany." Jawlensky was the "most advanced" at that time. , because "he already knew how to paint in a modern way. He had learned the method of the Pont-Aven school of stretching the colored surfaces in contours." However, the "peasant girl with a hood" is still very far from such modernity and does it Dating of the gen. Authors not acceptable. Because despite all the interventions of the other hand to gloss over the image, it is obvious that the original image is stylistically still deeply rooted in realism , which Jawlensky was about to shake off in 1906 during his trip to France. A comparison with the painting Der Bucklige im Lenbachhaus from 1906 in Brittany shows that the “peasant girl with a hood” - is still far removed from expressionist tendencies and must have been created earlier. Accordingly, the picture would have to be dated a few years earlier.

literature

  • Clemens Weiler: Alexej Jawlensky, heads-faces-meditations . Hanau 1970, p. 142 No. 25.
  • Bernd Fäthke: Jawlensky's “farmer girl with a hood”. The special picture for the 45th year of death by Alexej Jawlensky , MS Museum Wiesbaden 1986, pp. 1–5.
  • Ingrid Koszinowski: Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum . Wiesbaden 1997, p. 17 No. 4.
  • Maria Jawlensky, Lucia Pieroni-Jawlensky, Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné of the oil-paintings. Vol. 1, Munich 1991, p. 129 No. 133.
  • Roman Zieglgänsberger (ed.): Horizont Jawlensky 1900-1914, Alexej von Jawlensky in the mirror of his encounters . Exhibition catalog, Museum Wiesbaden 2014, p. 299 cat. No. 41, illus. P. 148.

Individual evidence

  1. ^ Ingrid Koszinowski: Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum . Wiesbaden 1997, p. 17 No. 4.
  2. ↑ Clemens Weiler: Alexej Jawlensky, Heads-Face-Meditations . Hanau 1970, p. 142 No. 25.
  3. ^ Maria Jawlensky, Lucia Pieroni-Jawlensky, Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné of the oil-paintings. Vol. 1, Munich 1991, p. 129 No. 133 with b / w illus.
  4. ^ Ingrid Koszinowski: Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum . Wiesbaden 1997, p. 17 No. 4 with color illus.
  5. ^ Roman Zieglgänsberger (Ed.): Horizont Jawlensky 1900-1914, Alexej von Jawlensky in the mirror of his encounters . Exhibition catalog Museum Wiesbaden 2014, p. 299. No. 41, color illus. P. 148.
  6. ↑ Ingrid Koszinowski. Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum . Wiesbaden 1997, p. 17.
  7. ↑ Bernd Fäthke: Jawlensky's "Bauernmädchen mit Haube" , The special picture for the 45th year of death of Alexej Jawlensky , MS Museum Wiesbaden 1986, pp. 1–5.
  8. ↑ Clemens Weiler: Alexej Jawlensky, Heads-Face-Meditations , Hanau 1970, p. 142 No. 25.
  9. ↑ Ingrid Koszinowski. Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum Wiesbaden 1997, p. 17.
  10. ^ Maria Jawlensky, Lucia Pieroni-Jawlensky, Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné of the oil-paintings. Vol. 1, Munich 1991, p. 129 No. 132.
  11. ^ Roman Zieglgänsberger (Ed.): Horizont Jawlensky 1900-1914, Alexej von Jawlensky in the mirror of his encounters . Exhibition catalog, Museum Wiesbaden 2014, p. 299 No. 41.
  12. ↑ Brigitte Salmen, Annegret Hoberg: Around 1908 - Kandinsky, Münter, Jawlensky and Werefkin in Murnau. In exh. Cat .: 1908-2008, 100 years ago, Kandinsky, Münter, Jawlensky, Werefkin in Murnau. Murnau 2008, p. 13.
  13. ^ Johannes Eichner: Kandinsky and Gabriele Münter. From the origins of modern art. Munich 1957, p. 89.
  14. ↑ Bernd Fäthke: Werefkin and Jawlensky with their son Andreas in the "Murnauer Zeit". In: 1908-2008, 100 years ago, Kandinsky, Münter, Jawlensky, Werefkin in Murnau. Exhibition catalog, Murnau Castle Museum 2008, p. 44.