Lady with a Fan (Jawlensky)

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Alexej Jawlensky: "Lady with a Fan", 1909

Lady with a Fan is the title of a painting by the German-Russian artist Alexej Jawlensky , which he painted in 1909. In 1956 it was acquired by the then museum director Clemens Weiler for the Wiesbaden Museum . It bears the inventory number M 699.

Technology and image carriers

The "Lady with a Fan" is an oil painting on cardboard in portrait format, 92 × 67 cm. It is signed and dated lower right in the picture 'A. Jawlensky 09 ". There are contradicting information on the reverse: "On reverse inscribed in pencil 'Figürlich 1909.AJ 796' in another hand" and "Original reverse not visible." The picture is recorded in Weiler's "Catalog of Paintings" from 1959, in the "Workshop Directory" from 1970 with Weiler, in the "Catalog Raisonné" from 1991 of the Jawlensky archive.

Image description

“In 1909 a number of Jawlensky's most beautiful and still most popular pictures were created, including the two large portraits of the dancer Sacharoff , which were shown in the first exhibition of the artists' association in Munich, “ The White Feather ” and “ Red Lips " . The peculiar thing about these pictures is that Jawlensky understood in them how to depict the androgynous and hermaphroditic element, which also lived very strongly in the circle, in a perfect, purely artistic way, free of all symbolism. The hermaphrodite is the mythological form for the spiritually aspired synthesis and goes back to the Platonic view. At the same time, the hermaphrodite is also the image of a decadent, expired time. […] That is the mood of the Russian ballet , which fascinated all of Europe in those years. The orchid-like blooming color and the mysteriously burning arabesques of the contour combine to create a suggestive magical power. The "girl with the peonies" , a picture of hidden passion and subdued sensuality, and the "lady with a fan" , in which the purple mouth seems to suck all its strength from the sharp red of the surrounding background, belong to the same style level. on the Jawlensky all the results of the last few years, the puzzle colors of Gauguin , the formative power of Cèzanne and the passion of van Gogh ; brought to a conclusion in a shining chord. With these pictures, Jawlensky showed that he was fully able to make the legacy of the past his own. But the aristocratic elegance of these pictures could not satisfy Jawlensky's power of nature. The colored intensity glowing in it had to create a new shape. And so he reined in the color by an even stricter form. In his old age he called one of his “meditations” “restrained embers” . That was his concern to tame the glowing color, not let it flow, not allow it to run free. "

Who was the model for the “Lady with a Fan” ?

The person represented has been given differently in the literature. While Fäthke assuming it were a representation of the dancer Alexander Sakharoff which the artist demonstrated to Japanese kimono -Gewändern, but also disguised as a woman model standing, other authors suggest in the sitter a girl [...] called 'Resi'. Even Marianne von Werefkin has been the model to Jawlensky's painting "Lady with a Fan" explained. Which real person is behind the painting is ultimately irrelevant for the interpretation, since, as Roman Zieglgänsberger contributed to the discussion in 2014, "it is obviously not about portrait resemblance, but about the typification of a figure."

Japanese influences

Vincent van Gogh: "Oiran", after Kesaï Eisen, 1887

Jawlensky followed van Gogh's penchant for Japonism . Jawlensky must have been particularly fascinated by his painting “ Oiran ” . “First of all, the elaborate Japanese headdress, which may have tempted Jawlensky to transform this motif of his 'lady with a fan' into a contemporary European, flower-adorned hat, is striking. Similar to Werefkin's painting 'The Dancer Sacharoff' , Jawlensky also designed the face in a peculiar manner as a mask. Finally, the almond-shaped eyes are Asian too. In addition, the small mouth embodies a typical Japanese ideal of beauty. The pathetic handling of the fan is often given by the Japanese art of woodcut . In Jawlensky's still-preserved Japan collection there are several comparable items. "

literature

  • Clemens Weiler: Alexej Jawlensky. Cologne 1959, p. 229, No. 44
  • Clemens Weiler: Alexej Jawlensky, heads-faces-meditations. , Hanau 1970, p. 142, no. 52
  • Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.), Alexej von Jawlensky: Catalog Raisonné of the oil-paintings. Vol. 1, Munich 1991, No. 242, p. 209
  • Bernd Fäthke : Alexej Jawlensky, drawing-graphic-documents exh. Cat .: Museum Wiesbaden 1983, p. 35 ff
  • Bernd Fäthke, Jawlensky's "Lady with a Fan" , the special picture for the 45th year of death of 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. 1997, No. 12, p. 24
  • Ingrid Koszinowski, Alexej von Jawlensky - paintings and graphic works from the collection of the Museum Wiesbaden , Spangenberg 1997, painting no.15
  • Bernd Fäthke: Von Werefkins and Jawlensky's weakness for Japanese art. In: exhib. Cat .: "... the tender, spirited fantasies ...", The painters of the "Blue Rider" and Japan, Murnau Castle Museum 2011, p. 103 ff
  • Exhib. Cat .: In Japan fever. From Monet to Manga. Arp Museum Bahnhof Rolandseck in Remagen , 26 August 2018 to 20 January 2019

Individual evidence

  1. ↑ Jawlensky (), 9103 Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné of the oil-paintings. Vol. 1, Munich 1991, No. 242, p. 209
  2. ^ Ingrid Koszinowski, Alexej von Jawlensky, paintings and graphic works from the collection of the Museum Wiesbaden 1997, p. 24
  3. ↑ Clemens Weiler: Alexej Jawlensky. Cologne 1959, p. 229, No. 44
  4. ↑ Clemens Weiler: Alexej Jawlensky, Heads-Face-Meditations. , Hanau 1970, p. 142, no. 52
  5. ↑ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné of the oil-paintings. , Vol. 1, Munich 1991, No. 242, p. 209
  6. ↑ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné of the oil-paintings. Vol. 1, Munich 1991, No. 249, p. 212
  7. ↑ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné of the oil-paintings. Vol. 1, Munich 1991, No. 248, p. 211
  8. ↑ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné of the oil-paintings. , Vol. 1, Munich 1991, No. 237, p. 205
  9. ↑ Clemens Weiler: Alexej Jawlensky. Cologne 1959, p. 73 f
  10. ↑ Bernd Fäthke: Alexej Jawlensky, drawing-graphic documents. In: exhib. Cat .: Museum Wiesbaden 1983, p. 35 ff
  11. ↑ Bernd Fäthke, Alexej Jawlensky, drawing-graphic documents, exh. Cat .: Museum Wiesbaden 1983, p. 37
  12. ^ Ingrid Koszinowski: Alexej von Jawlensky, paintings and graphic works from the collection of the Museum Wiesbaden 1997, p. 24
  13. ↑ So z. B. Volker Rattemeyer. Compare: "For me, Jawlensky forms the link to the city". Refurbishment of the Wiesbaden Museum: City Treasurer Dr. Hellmut Müller is a committed friend of art, Wiesbadener Kurier, Saturday, September 20, 2003, p. 29
  14. ↑ Roman Zieglgänsberger: Mark the horizon. Alexej von Jawlensky between 1896 and 1914 (pp. 16–58, here in particular p. 47) . In: Museum Wiesbaden and Kunsthalle Emden (ed.): Exhibition catalog Horizont Jawlensky. Alexej von Jawlensky as reflected in his artistic encounters 1900–1914 ' . Hirmer Verlag, Munich 2014, ISBN 978-3-7774-2172-8 .
  15. ↑ Bernd Fäthke: Jawlensky's role models (1880-1921). In: exhib. Cat .: Jawlensky's Japanese woodcut collection. A fairytale discovery. , Edition of the Administration of State Palaces and Gardens, Bad Homburg vdH, No. 2, 1992, p. 13 ff