Beer garden (Werefkin)
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| Beer garden |
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| Marianne von Werefkin , 1907 |
| Tempera on cardboard |
| 55 × 73 cm |
| Museo comunale d'arte, Ascona |
Biergarten is the title of a painting that the Russian artist Marianne von Werefkin painted in Munich in 1907. The work belongs to the holdings of the Fondazione Marianne Werefkin (FMW) in Ascona . It has the inventory number FMW-0-0-2. The "beer garden" is one of the most modern pictures that was painted in Munich in 1907. With Kandinsky's words, this statement can be proved.
Technology, dimensions, labeling
It is a tempera painting on cardboard in the wide format 55 × 73 cm. On the back there is a sign with the inscription: “Moderne Galerie Thannhauser , Munich, Theatinerstr. 7 ".
iconography
On the one hand, the painting “ Biergarten ” shows Werefkin's keen interest in Bavarian folk art , and with this picture she has set a monument to the Bavarian national drink - beer . Sparsely laid tables are shown, at which men, women and children sit. Their facelessness reveals that the Werefkin was already very familiar with the art of Vincent van Gogh and Edvard Munch .
She was also familiar with Japanese woodcut art. This can be seen from the fact that all objects on the edges of the picture, whether house, table, chair and even people are cut by them. The crowns of the trees are also clipped in the Japanese style, whereby the verticals of the trunks intensify the two-dimensional character of the picture.
Dissonant painting
Werefkin designed the “beer garden” in terms of color in dissonant tones, namely the confrontation of red and blue. That was absolutely revolutionary in 1907. At the beginning of 1911 even Kandinsky did not know what to do with dissonances. This emerges from a letter he wrote to the musician Arnold Schönberg on January 18, 1911 . He believed that music was ahead of painting when it came to dissonance. And he said to Franz Marc : “I still paint against my will in old color harmonies. […] Schönberg took this big step beyond me. ”The fact is, however, it was a woman - Werefkin who had already taken this step four years earlier. In his book “The Spiritual in Art”, Kandinsky assigned a very special meaning to the constellation of red and blue. He characterized the red as a “glowing passion, an inherently secure force […] which can be extinguished by blue, like glowing iron by water.” […] In this context, he emphasized, “All means are pure, those from arise from inner necessity. "
literature
- Clemens Weiler : Marianne von Werefkin. Marianne Werefkin 1860-1938. Municipal Museum Wiesbaden 1958, no p.
- Bernd Fäthke: Marianne Werefkin and her influence on the Blue Rider. In: exhib. Cat .: Marianne Werefkin, paintings and sketches. Museum Wiesbaden 1980, p. 60, fig. 15
- Bernd Fäthke: Marianne Werefkin. Munich 2001, ISBN 3-7774-9040-7
- Bernd Fäthke: Marianne Werefkin created a groundbreaking image of modernism with her painting “Biergarten”. In: exhib. Cat .: Beer in Bavaria. Publications on history and culture 65, Augsburg 2016, p. 328 f, ISBN 978-3-937974-39-2
- Bernd Fäthke : Marianne Werefkin: Clemens Weiler's Legacy. In: Marianne Werefkin and the Women Artists in her Circle. (Tanja Malycheva and Isabel Wünsche eds.), Leiden / Boston 2016 (English), pp. 8–19, ISBN 978-9-0043-2897-6 , pp. 8–19, here pp. 14–19; JSTOR 10.1163 / j.ctt1w8h0q1.7
Individual evidence
- ↑ Bernd Fäthke: Marianne Werefkin created a groundbreaking image of the modern with her painting “Biergarten” . In exh. Cat .: Beer in Bavaria. Publications on history and culture 65, Augsburg 2016, p. 328 f
- ^ Arnold Schönberg: Wassily Kandinsky, letters, pictures and documents of an extraordinary encounter. Jelena Hahl-Koch (ed.), Munich 1983, p. 19
- ^ Franz Marc: Letters. In: exhib. Cat .: Franz Marc 1880-1916. Städtische Galerie im Lenbachhaus, Munich 1980, p. 117
- ↑ Wassily Kandinsky: About the spiritual in art, especially in painting: Munich 1912, (1st edition), (The first edition was published by Piper in Munich at the end of 1911 with imprint 1912), p. 83 f