The steep coast of Ahrenshoop
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| The steep coast of Ahrenshoop |
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| Marianne von Werefkin , 1911 |
| Tempera on cardboard |
| 55 × 73.5 cm |
| Museo Communale d'Arte Moderna, Ascona |
The steep coast of Ahrenshoop is the title of a painting that the Russian artist Marianne von Werefkin painted in 1911. The work belongs to the holdings of the Fondazione Marianne Werefkin (FMW) in Ascona . It has the inventory number FMW-0-0-25.
Technology and dimensions
The painting is a tempera painting on cardboard , 55 × 73.5 cm.
The list of foreigners in 1911
When the picture was taken, Werefkin had rented the former "Villa Seestern" on Waldstrasse in the seaside resort of Prerow on the Baltic Sea for summer vacation . The entry in the list of foreigners from 1911 reads: “Miss. Excellent v. Werefkin, Marianne, Russia ; Mr. v. Jawlensky Alex. , Staff captain a. D. , Russia; Nesnakomoff, Helene and Son, Russia. ”“ Erich Heckel , co-founder of the bridge in Prerow, was also at the same time . ”
iconography
From Fischland-Darß-Zingst , Werefkin brought a few paintings and a large number of sketches that read like a colorful diary. Through her you can get to know certain areas or buildings that she visited at that time. They can be complemented by Jawlensky's paintings. Werefkin has erected a unique monument on the "Hohen Ufer", the Ahrenshooper steep coast . Two diagonals, rising from the bottom left to the top right, determine the composition of the picture. Werefkin separated the sea and the sky from the land with one diagonal. The other gives shape to the cliff hollowed out by the surf . It rises steeply from the narrow sandy shoreline in the lower center of the picture. It ends at the upper edge of the picture with the typical overhang typical of the Ahrenshooper area. Behind the cliff you can see two green, high bank embankments with colorful splashes of color. With these, Werefkin certainly indicates the growth of sea buckthorn or potato roses . In the water, the painter shows the former ladies' pool on stilts, which compensated for the tidal range until the storm surge in 1913. There are two beach chairs on the flat bank . Of one you can see the back part, of the other in front of the cliff you can see the front part with the seating niche, which is lined with colorful fabrics. On the lower left side of the picture are two women on the beach, one is wrapped in long white clothing, the other is wearing a modern sleeveless black swimsuit with bloomers .
Stylistic features
“The steep coast of Ahrenshoop ” is one of those pictures that characterizes the zenith in Werefkin's work during her expressionist phase. In it she once again summarized all the achievements of the then modern painting that she had shown her colleagues for years. All the genes of French art, which were a prerequisite for the development of German Expressionism , can be found in this picture. In counterpoint, the two "non-colors" that van Gogh declared as worthy of the picture - black and white - indicate the general tone. They are followed by the three basic colors: the yellow of the steep coast - the red of the fruits of the sea buckthorn bushes or potato roses that grow high up on the edge of the steep bank - and the different blues of the Baltic Sea. These colors are complementary confirmed by purple and green in the water and on land. However, the orange that would round off the color palette is missing. So the picture shows “dissonances”. This is the color problem that Werefkin has handled with ease for several years, while Kandinsky and Marc only came across this pictorial means through Schönberg's music in January 1911. Van Gogh remembers not only the brushwork but also the main color schemes of green and blue in his Arleser landscapes with olive or yellow and brown of his reapers scenes and his still life with sunflowers that he had become a trademark. But Gauguin and Bernard are also cited, more precisely, their recipes: to stretch colors in contours.
literature
- Clemens Weiler : Marianne Werefkin 1860–1938. Exhib. Cat .: Municipal Museum Wiesbaden 1958
- Bernd Fäthke: Marianne Werefkin. Munich 2001, p. 128 f, fig. 133, ISBN 3-7774-9040-7
- 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. Munich 2001, p. 165, Fig. 18, ISBN 3-7774-9040-7
- ↑ Bernd Fäthke: Marianne Werefkin. Munich 2001, p. 166, ISBN 3-7774-9040-7
- ↑ Barbara Bohn, Vera Bombor, Wolf Karge: Ahrenshoop, an artist colony on the Baltic Sea. Fischerhude 1990, p. 58
- ^ Friedrich Schulz: Ahrenshoop, The story of a village between Fischland and Darss. Fischerhude 1992, ill.p. 40 and 54.
- ^ Friedrich Schulz: On the way in ... Ahrenshoop ... with Friedrich Schulz. Fischerhude 1992, p. 102