Village in Bavaria (Wasserburg / Kirch-Eiselfing)

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"Village in Bavaria (Wasserburg / Kirch-Eiselfing)" is the current title of a landscape painting by German-Russian artist Alexej Jawlensky . According to the inventory map, the picture was originally called “View of Murnau” , then “Village in Bavaria” . According to current research, the picture was painted in 1907. In 1953 it was acquired by the then museum director Clemens Weiler for the Wiesbaden Museum . It bears the inventory number M 390.

Technology and image carriers

The "Village in Bavaria (Wasserburg / Kirch-Eiselfing)" is an oil painting on cardboard in a wide format, 40 × 60.5 cm. It is labeled “A. Jawlensky. ”The picture is listed in Weiler's“ Catalog of Paintings ”from 1959, in the Jawlensky Archive's 1991“ Catalog Raisonné ”, in 1997 in the Jawlensky inventory catalog of the Wiesbaden Museum, and in 2014 in the Jawlensy exhib. Cat. Of the Wiesbaden Museum.

Identification of the location

It was not until 1979 that the “village in Bavaria” with the church in the distance of the landscape was identified as Eiselfing by the art historian Gottlieb Leinz. He wrote: “According to Andreas Jawlensky's memory, it is the 'hinterland in the height near Wasserburg ', as we now know more precisely, the district of Kirch-Eiselfing, about two kilometers south of Wasserburg. Photos from 1924 and 1934 illustrate the characteristic distant backdrop of this place. [...] The bright spot of the school (right) and the slender church tower above the red roof accentuate the street village, which is embedded between wide fields and pieces of trees . The painter had obviously set up his easel in the middle of the fields. The picture is filled with a previously unknown saturated color light, which, similar to Vincent van Gogh , spreads over the freshly sown grain, the brightly lit fields and the deep blue of the cloudy sky. "According to Andreas Jawlensky," Jawlensky spent the year 1906 as we now know more precisely in Wasserburg. As Andreas Jawlensky, the artist's son, remembers today, on the advice of the painter Adolf Erbslöh [...] his father was first made aware of Wasserburg am Inn. ”But Andreas was misjudged because he was only five years old 1907 for the first time in Wasserburg. One believed Jawlensky's portrayal, as did Andreas all his life, who was a four-year-old on this trip to France.

Image description according to Bernd Fäthke

“It cannot be overlooked that, in terms of style, Jawlensky followed French neo-impressionist models - the so-called 'confetti painters' - and especially in Van Gogh's brushwork. Jawlensky’s dependence on previous French painting has been observed several times, but at the same time it has been overlooked that the avant-garde Fauves , who surprised the world with a new, wild painting in 1905, at least at this point were no longer able to offer Jawlensky any significant impetus for further development. As for the progressiveness of the Fauves in comparison with the Russian Jawlensky, he will have to be granted equality. However, the sources from which both draw are the same. Van Gogh's painting and theories play a very prominent role here. Although he had never founded a school, he has remained the most important teacher of all modern painting to this day. When Jawlensky got to know his painting, he was so deeply impressed by it that he suddenly changed his own painting style. As if stigmatized, he adopted van Gogh's vehement neo-impressionist brush script for exactly five years and tried to develop it further at the same time. He uses many of Van Gogh's paintings as models and inspiration for his own work. For example, a landscape depiction by Auvers by van Gogh from 1890 forms the film for Jawlensky's 'Village in Bavaria' as the Jawlensky exhibition in Wiesbaden in 1983/84 was able to demonstrate. "

Why the signature is a forgery and two counter arguments

Doubts about the authenticity of the signature on the picture “Village in Bavaria (Wasserburg / Kirch-Eiselfing)” have existed for a long time. Because “the painting shows old bursts of color in the lower right corner of the picture, which were covered up with visible retouching, for example under the letter –s- and –y- of the signature - not following the brushstroke. What exposes the signature of the signature as an anonymous forgery is the fact that, for example, the letters -w-, -l- and -y- protrude very clearly into the color breaks. "

As a counter-argument, it was claimed in 1997 that “the artist himself added the signature afterwards.” And in 2015 the Frankfurter Allgemeine Sonntagszeitung read that the art historian “Zieglgänsberger does not consider it anything special that a painter does not initially sign his picture and this, how in this case, on the occasion of an upcoming exhibition tour. "

In both cases it is argued that Jawlensky himself put the signature on the color eruption of his damaged painting. However, he recommended z. For example, for her debut at the Fritz Gurlitt Gallery in Berlin in 1922 , Hanna Bekker vom Rath made corrections with a “retouché varnish” at the last moment before the vernissage in order to present the audience with flawless images.

literature

  • Clemens Weiler: Alexej Jawlensky. Cologne 1959, p. 229, No. 44
  • Gottlieb Leinz: Jawlensky's stay in Wasserburg 1906/07. In exh. Cat .: Alexej Jawlensky, From image to original, gallery in the Ganserhaus. Wasserburg am Inn 1979, p. 25 ff
  • Bernd Fäthke: Alexej Jawlensky, drawing-graphic documents. Exhib. Cat .: Museum Wiesbaden 1983, p. 34 f
  • Bernd Fäthke: Jawlensky's “Village in Bavaria”. 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 museum's collection. Wiesbaden 1997, No. 6, p. 19

Individual evidence

  1. ↑ Clemens Weiler: Alexej Jawlensky. Cologne 1959, p. 262, no.513
  2. ↑ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné of the oil-paintings. , Vol. 1, Munich 1991, No. 162, p. 142, color illus. P. 151
  3. ^ Ingrid Koszinowski: Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum Wiesbaden 1997, p. 19 f, color illus. P. 9
  4. ↑ Roman Zieglgänsberger (ed.), Exhib. Cat .: Horizont Jawlensky 1900-1914, Alexej von Jawlensky in the mirror of his encounters. Museum Wiesbaden 2014, p. 299, color illus. P. 130
  5. ↑ Gottlieb Leinz: Jawlensky stay in Wasserburg 1906/07. In exh. Cat .: Alexej Jawlensky, From image to original. Gallery in the Ganserhaus, Wasserburg am Inn 1979, p. 31
  6. ↑ 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
  7. ↑ Gottlieb Leinz: Jawlensky stay in Wasserburg 1906/07. In exh. Cat .: Alexej Jawlensky, From image to original, gallery in the Ganserhaus. Wasserburg am Inn 1979, p. 25
  8. ↑ Bernd Fäthke: Jawlensky's "Village in Bavaria", the special picture for the 45th year of death of Alexej Jawlensky. MS, Museum Wiesbaden 1986, p. 3 f
  9. ↑ Alexander Hildebrand: The 50th year of death of the painter Alexej von Jawlensky, The contribution of the Hessisches Landesdmuseum Wiesbaden. Wiesbadener Leben, 7/1991, p. 13
  10. ↑ Bernd Fäthke: Jawlensky and his companions in a new light. Munich 2004, p. 98 f
  11. ^ Ingrid Koszinowski: Alexej von Jawlensky, paintings and graphic works from the museum's collection. Wiesbaden 1997, p. 19
  12. ↑ Katina Fischer. Flawless provenance. Alexej Jawlensky is also very popular with art forgers. That's why you don't get nervous at the Wiesbaden Museum. Frankfurter Allgemeine Sonntagszeitung, September 6, 2015, R5
  13. ^ Marian Stein-Steinfeld: Insights into work and life. In exh. Cat .: The painter Hanna Bekker 1893-1983, an exhibition on her 100th birthday in the Stadtmuseum Hofheim am Taunus. Hofheim am Taunus 1993, p. 33

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