Portrait of Marianne von Werefkin (Jawlensky)

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Portrait of Marianne von Werefkin is the title of a painting that the German-Russian artist Alexej Jawlensky painted in 1906. The work is on permanent loan from the “Association for the Promotion of Fine Art in Wiesbaden eV” for the Wiesbaden Museum . It bears the inventory number 1047.

Technology and dimensions

The "Portrait of Marianne von Werefkin" is an oil painting on cardboard in portrait format, 67.5 × 49.5 cm. The picture is not signed or dated. The back is “damaged all over (image carrier split or peeled off).” The painting is listed in Clemens Weiler's “Catalog of Paintings” from 1959, in the catalog raisonné of the Jawlensky Archive from 1991, in the Jawlensky inventory catalog of the Museum Wiesbaden from 1997 and in Jawlensky exhibition catalog of the Museum Wiesbaden from 2014.

Iconography and style

The Werefkin is shown as a chest piece in three-quarter view . The face is turned slightly to the left from the frontal view. With alert eyes she looks at the viewer or the portraying Jawlensky while painting. Following the findings of Vincent van Gogh , he built his painting on the three basic colors - yellow, red and blue, which he sometimes hid or rather cautiously balanced out with complementary violet, green and orange. He supplemented these color combinations with the non-color pair black and white. The color red a vermilion dominates. For Wassily Kandinsky this color is "a safe-contained power, which is not easy to drown is". Jawlensky certainly did not use them by chance to characterize his colleague and patron . Jawlensky designed the Werefkin's face and hat realistically, otherwise his spirited painting is reminiscent of abstract tendencies.

Dating

Clemens Weiler dated the "Portrait of Marianne von Werefkin" in 1906. All other authors who have dealt with the painting so far have chosen the date: "around 1906"! That means you are not sure whether the work could not have been created in 1905 or 1907? As far as Jawlensky's painting style is concerned, it has meanwhile been established that his “furious painting” of the portrait of Werefkin requires knowledge of the painting of the “Fauvists” , whom he - “1906” “had only just met in Paris”. A comparison with the portrait of the hunchback in a blue sweater , which Jawlensky previously painted in Brittany , shows that the "Portrait of Marianne von Werefkin" is more progressive and was created after her stay in Paris in 1906. Jawlensky describes the stations of the onward journey from Brittany via Paris to the south of France in his memoirs: “From the October exhibition in Paris we went to the south of France to Provence and Sausset on the Mediterranean,” where Werefkin resumed painting after a ten-year break.

literature

  • Clemens Weiler : Alexej Jawlensky. Cologne 1959, No. 21, p. 227 with b / w illus.
  • Angelica Jawlensky. 14 new Jawlenskys in the Wiesbaden Museum. In: exhib. Cat .: Focus, 30 new acquisitions from the Hanna Bekker vom Rath collection. Museum Wiesbaden, Wiesbaden 1988, p. 40 with b / w illus.
  • Ingrid Koszinowski: Portrait of Marianne Werefkin, around 1906. In: Exh. Cat .: Alexej von Jawlensky on the 50th year of death, paintings and graphic works. Museum Wiesbaden 1991, p. 100, color illus. P. 101
  • Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné. Vol. 1, Munich 1991, No. 136, p. 131 with b / w illustrations
  • Ingrid Koszinowski: Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum Wiesbaden 1997, No. 5, p. 17, color illus. P. 18
  • Roman Zieglgänsberger (Ed.): Exh. Cat .: Horizont Jawlensky 1900–1914, Alexej von Jawlensky as reflected in his encounters. Museum Wiesbaden 2014, cat.no.39, color. Fig. P. 136

Individual evidence

  1. ↑ Jawlensky was granted German citizenship in 1934. See: Saskia Bekke-Proost: Biography, Alexej von Jawlensky (1864-1941). In: Alexej von Jawlensky, Epressionisme en devotie. Gemeente Museum Den Haag 2018, p. 193
  2. ↑ Clemens Weiler: Alexej Jawlensky. Cologne 1959, No. 21, p. 227.
  3. ↑ Ingrid Koszinowski: Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum Wiesbaden 1997, p. 17
  4. ↑ Clemens Weiler: Alexej Jawlensky. Cologne 1959, No. 21, p. 227 with b / w illus.
  5. ↑ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné. Vol. 1, Munich 1991, No. 136, p. 131 with b / w illus.
  6. ^ Ingrid Koszinowski: Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum Wiesbaden 1997, No. 5, p. 17, color illus. P. 18
  7. ↑ Roman Zieglgänsberger (Ed.): Exh. Cat .: Horizont Jawlensky 1900-1914, Alexej von Jawlensky in the mirror of his encounters. Museum Wiesbaden 2014, cat.no.39, color. Fig. P. 136
  8. ↑ Vincent van Gogh: all letters, to the family, to friends and acquaintances. In d. Translated by Eva Schumann, Ed. Fritz Erpel, Bornheim-Merten 1985, Vol. 4, p. 89
  9. ↑ 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
  10. ↑ Bernd Fäthke: Jawlensky and his companions in a new light. Hirmer-Verlag, Munich 2004, ISBN 3-7774-2455-2 , pp. 75-77
  11. ^ Roman Zieglgänsberger: Alexej Jawlensky: Cologne 2016, p. 37, recto. Verso, p. 36, the author's “Portrait of Marianne von Werefkin” is strangely dated “around 1906”
  12. ↑ Alexej Jawlensky: Memories In: Clemens Weiler (ed.), Alexej Jawlensky, Heads-Face-Meditations , Hanau 1970, p. 110 f
  13. ↑ Bernd Fäthke: Jawlensky and his companions in a new light. Hirmer-Verlag, Munich 2004, ISBN 3-7774-2455-2 , p. 87 f, fig. 96