Blue mountains (landscape with yellow chimney)

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“Blue Mountains (Landscape with a Yellow Chimney)” is today's title of a painting by the German-Russian painter Alexej Jawlensky . In 1953 it was acquired by the then museum director Clemens Weiler from the Vömel gallery in Düsseldorf for the Wiesbaden Museum . It bears the inventory number M 679.

Technology and image carriers

The painting “Blue Mountains (Landscape with a Yellow Chimney)” is an oil painting on cardboard in a wide format, 33.5 × 44.5 cm. It is signed lower left in the picture 'A. Jawlensky “The picture is listed in Weiler's“ Catalog of Paintings ”from 1959, in Weiler's“ Workshop Directory ”from 1970, in“ Catalog Raisonné ”from 1991 of the Jawlensky Archive, 1997 in the Jawlensky inventory catalog of the Museum Wiesbaden., 2014 in Exhibition catalog "Horizont Jawlensky" 2014.

back

"Back protection with various museum and exhibition stickers, inscribed on the inside of the back protection (with a copier pen by another hand): Obersdorf / (Bavaria) 1912; underneath (by another hand with a black brush): Obers (t, strikethrough) dorf / 1912 / Blaue Berge [...] It can be assumed that the designations on the reverse may have been added later by Andreas Jawlensky after his return from captivity. "

Iconography: energy and movement

In his memoirs, Jawlensky reports: “In the summer of 1912 we all went to Oberstdorf . [...] In Oberstdorf I painted various mountain landscapes. ”“ At that time Jawlensky [also] painted pictures of old bearded farmers, which he in turn knew how to translate into archetypes. The landscapes created there also clump and compress the image of the mountains into an archetypal form. ”Unlike Werefkin in her portrait-format picture Schindelfabrik from 1910, Jawlensky opted for the wide format, which is characteristic of conventional landscape painting. "With the brightest of the three basic colors, yellow, which when viewed directly [...] worries people," Jawlensky provided the chimney. By giving it a shape that tapered geometrically towards the top, he gave the color a shape appropriate to its character, which "ultimately has a cheeky and intrusive effect on the mind." Thus the title of the picture, which was discarded after 1953 - "Landscape with a yellow chimney." “Probably much closer to the artist's concern than today's. Since the yellow u. a. “Seeking deepening and calm in blue” is all too natural and logical that Jawlensky chose black and blue for the “counteraction” for the mountains towering over the factory building. Viewed as abstract, massive forms with the “basic sound of cold”, they threaten to crush the building. A vertical bores through it with the “basic sound of warmth” as the “highest contrast”, the slim, sky-reaching chimney. The gable of the house, which is set in clear, continuous contours, forms an acute angle. As an abstract form, it is perceived as aggressive and is regarded as a "signpost to yellow". As a result, this acute angle supports the upward vertical movement of the chimney and turns out to be "originally opposite" to the downwardly burdening circular segments of the mountain peaks. The left half of the picture seems to get into a vertical up and down movement due to the contrasts of form and color, seems to pulsate. On the right in the picture the pointed triangle of a mountain peak assists the house gable. The association of movement between the chimney elements and mountains stacked on top of each other leads the view of the unusually red-colored sky. Jawlensky would be misunderstood if one were to attribute his choice of the color red for this point, to his “impulsiveness”. It is supposed to evoke a corresponding association, “a psychological shock” - and can “cause a spiritual vibration similar to the flame.” For those who are not particularly sensitive to such an emotional reading of images, Jawlensky even made the color materially vibrate using a brush technique from impressionism practiced by Gauguin . He dynamized the colors in small lines. Even the green, the color of "immobility", he caused an uproar. The use of colors and shapes chosen by Jawlensky served him to explain his actual, overarching topic, namely energy and movement. Rhythmically offset from one another, the artist placed three telegraph poles in front of the mountains, seemingly unmotivated. It cannot be overlooked, however, that they are an essential part of pictorial iconography, because he polarized the non-color pair "black and white" on them.

literature

Clemens Weiler: Alexej Jawlensky. Cologne 1959

Individual evidence

  1. ↑ Clemens Weiler: Alexej Jawlensky. Cologne 1959, p. 267, no.566
  2. ↑ Clemens Weiler, Alexej Jawlensky, Heads-Face-Meditations, Hanau 1970, p. 154
  3. ^ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.), Alexej von Jawlensky, Catalog Raisonné of the oil-paintings, vol. 1, Munich 1991, no. 556, p. 429, b / w-fig. P. 429
  4. ^ Ingrid Koszinowski: Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum Wiesbaden 1997, p. 23 f, color illus. P. 24
  5. ↑ Roman Zieglgänsberger (ed.), Exhib. Cat .: Horizont Jawlensky 1900–1914, Alexej von Jawlensky in the mirror of his encounters, Museum Wiesbaden 2014, cat. No. 76, color illus. P. 274
  6. ↑ Ingrid Koszinowski: Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum Wiesbaden 1997, p. 23
  7. ↑ Alexej Jawlensky: Memorabilia In: Clemens Weiler (ed.), Alexej Jawlensky, Heads-Face-Meditations , Hanau 1970, p. 114
  8. ↑ Clemens Weiler: Alexej Jawlensky. Cologne 1959, p. 82
  9. ↑ Wassily Kandinsky: About the spiritual in art, especially in painting. Munich 1912, (2nd edition), p. 45 (The first edition was published by Piper in Munich at the end of 1911 with the imprint 1912)
  10. ↑ Wassily Kandinsky: About the spiritual in art, especially in painting. Munich 1912, (2nd edition), p. 76
  11. ↑ "Landscape with a yellow chimney" has been retained as a subtitle.
  12. ↑ Wassily Kandinsky: About the spiritual in art, especially in painting. Munich 1912, (2nd edition), p. 45
  13. ↑ Wassily Kandinsky, Point and Line to Surface, Contribution to the Analysis of Painting Elements, (first published in 1926 as Volume 9 of the “Bauhaus Books”), with an introduction by Max Bill, Bern 1955, p. 147
  14. ↑ Wassily Kandinsky, Point and Line to Surface, Contribution to the Analysis of the Painting Elements, (first published in 1926 as Volume 9 of the “Bauhaus Books”), with an introduction by Max Bill, Bern 1955, p. 175
  15. ↑ Wassily Kandinsky, Point and Line to Surface, Contribution to the Analysis of Painting Elements, (first published in 1926 as Volume 9 of the “Bauhaus Books”), with an introduction by Max Bill, Bern 1955, p. 89
  16. ↑ Floria Segieth-Wuelfert: The Jawlensky data collection project - technical aspects of painting . In: Bild der Wissenschaft The Dealing with the Artistic Heritage from Hodler to Jawlensky Postprints of the symposium on February 14, 2003 at the Bern University of the Arts, Vol. 1, Locarno 2003, p. 73
  17. ↑ Wassily Kandinsky: About the spiritual in art, especially in painting. Munich 1912, (2nd edition), p. 46
  18. ↑ Wassily Kandinsky: About the spiritual in art, especially in painting. Munich 1912, (2nd edition), p. 5: "Nowadays the viewer is seldom capable of such vibrations."
  19. ↑ Wassily Kandinsky: About the spiritual in art, especially in painting. Munich 1912, (2nd edition), p. 75
  20. ↑ Bernd Fäthke, Jawlensky and his companions in a new light, Munich 2004, p. 160 ff