Galka Scheyer

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Alexej Jawlensky : Mystical Head: Galka (1917)
Alexej Jawlensky: Galka Scheyer (1919/21)

Galka Scheyer , originally: Emilie Esther Scheyer (born April 15, 1889 in Braunschweig , † December 13, 1945 in Hollywood ) was a German - American painter, art teacher, art dealer and art collector . She was the founder of the exhibition and sales community Die Blaue Vier . She owes her nickname "Galka", Russian jackdaw, to Alexej Jawlensky , who called her that because of her black hair. When Scheyer received American citizenship in 1931, she adopted Galka as her legal first name.

Life

Youth and training as a painter

Braunschweig Okerstraße 10: House of the Scheyer family, in which Galka Scheyer, among others, lived.

Scheyer was the daughter of the upper-class Jewish entrepreneur from Braunschweig, Leopold Scheyer (1852–1909) and his wife Henriette, b. Katzenberger (1861-1942). Her father was the owner of the Maseberg canning factory , which was the largest company of its kind in Braunschweig before the First World War and in which her mother was the authorized signatorywas active. In 1905 Scheyer left Braunschweig to study painting, sculpture and music in England, France, Belgium and Switzerland. After her father's death in 1909, her two brothers Erich (* 1887) and Paul (1886–1956) continued to run the business and financially supported the sister’s ventures until 1936. Before Emilie Esther Scheyer, no one in the family had any “art interests ". However, she received music and painting lessons. She had been friends with Lette Valeska since school . At that time she was already painting in the great outdoors and for this purpose often went to the Harz Mountains with friends .

In 1909/10 "she went to England for a position, but also studied and took language exams" at Oxford University . "In 1910 she [...] traveled through Italy, visited museums and drew." In the same year, "she took up a position in Paris and studied on the side." She completed her language studies with an exam at the Alliance française . At that time she painted her oil paintings on canvas and signed them with the pseudonym "Renée". Stylistically she was based on both the Neo-Impressionists and the painters of the Pont-Aven school .

In 1912 she was back in Germany and joined the circle around the painter Gustav Lehmann (1883–1914), who worked in Braunschweig and Munich. In 1914 she followed him to Munich, who followed Charles Palmié and practiced the neo-impressionist style of painting. In Munich Scheyer also attended university and heard lectures “u. a. with the art historian Heinrich Wölfflin ”. Obviously, Scheyer did not hear about the activities of the Neue Künstlervereinigung München (NKVM) or the editorial team of the Blauer Reiter during her time in Munich .

After the outbreak of World War I, Scheyer spent the winter with her friend Lette Valeska in Brussels, where she worked in a painter's studio and continued to work in the neo-impressionist style, but also trained in sculpture. In 1916 Scheyer left Brussels to study painting in Switzerland.

The meeting with Jawlensky

In his memoir, Jawlensky reports on his first meeting with the painter, who was twenty-five years his junior: “In 1916 I met Miss Emmy Scheyer while visiting Lausanne . She came from Brussels and was a painter (impressionist). A few days later she came to us in St. Prex and saw my painting “The Buckel” and my variations there and was so enthusiastic that she no longer wanted to paint herself, but only devoted herself to my art. She said: Why do I want to paint, since I know that I can't make art as good as you. It is better if I dedicate myself to your art and will explain it to other people. "

The encounter with Jawlensky was to change Scheyer's life fundamentally. From then on she took Jawlensky's fate into her own hands. "After a few weeks she was already living in the household and stayed there with interruptions until 1918." If at the beginning of Jawlensky's artistic career it was a rich woman, Marianne von Werefkin, who at times gave up her own painting in favor of Jawlensky in order to be able to devote herself exclusively to his support, something similar happened again in Jawlensky's life with Scheyer. But there was a subtle difference in this ratio. If Werefkin had in the past selflessly, without profit, campaigned for Jawlensky's art, then Jawlensky - contractually regulated in future - would have to give her 45 percent of his income from the sales of paintings that Scheyer would make. In 1917 Jawlensky and Werefkin moved to Zurich with their maid Helene and her son Andreas. Scheyer followed. Through Jawlensky, she met the dancers Alexander Sacharoff and Clotilde von Derp , the sculptor Wilhelm Lehmbruck, among othersand know the painter Arthur Segal . Jawlensky often depicted them in stylized form on his so-called “Mystical Heads”.

When Werefkin and Jawlensky and their companions moved to Ascona on Lake Maggiore in 1918 , Scheyer also stayed there frequently. On Monte Verità , Jawlensky dictated his life story to her, but it was never printed.

When the financial situation for Jawlensky became increasingly precarious in 1919, but he did not feel himself equal to the art trade , he saw Scheyer as his lifeline and wrote to her: "I was not born to struggle with such material things". Scheyer, who thinks in terms of market strategy, then signed a contract with him on September 18, 1919 in Ascona, which among other things authorized her to trade in his pictures - subject to certain conditions. Just a month later she was in Munich to get an impression of the amount and type of his pre-war painting in Jawlensky's studio.

At that time, Scheyer met various friends of Jawlensky in Munich and was active in arranging matters that had remained for him. For example, Adolf Erbslöh was interested in taking over Jawlensky's studio as a new tenant. It was more important that she made sales for Jawlensky. For example, she was supposed to collect outstanding debts from the art dealer Hans Goltz . He still owed him 650 marks, because "Golz has sold all of the posters and I should get 2 marks for each." In November 1919, Jawlensky said, despite the existing contract with Scheyer, he could limit his thirst for action: "I want [...] go to Germany in the spring (if it becomes possible) and then see for yourself how and what “[one should do].

But Scheyer was not deterred and was still active as a herald of Jawlensky's art. She tried to reactivate its old audience in Germany and to win new ones. Because here he and his painting were still so well known after the war that people dressed and made up according to the characters in his Expressionist pictures at carnival balls. Well prepared with a self-written brochure with four illustrations on Jawlensky's previous work, she organized exhibitions and sales for him. In 1921 Scheyer had stayed in Wiesbaden for "months" in order to take part in a group exhibition at the Nassauischer Kunstvereinprepare. It became a “fabulous success for him! […] Money like hay! ”Scheyer wrote to him on February 16 in Ascona. On June 1, 1921, Jawlensky was also in the spa town. "I met very nice people there and that determined me to take up my residence in Wiesbaden," he reports in his memoirs. Scheyer also established contact with the rich art collector Heinrich Kirchhoff , who, according to her plan, was to become Jawlensky's patron.

The exhibitions organized by Scheyer toured all of Germany and resulted in sales. Jawlensky recalled: "For a few years she [...] only represented my art." However, she treated his pictures mercilessly if they did not fit into her sales strategy: "I will frame the good ones [...]. Before I frame the two-sided painting, I paint over one side. - How lucky it was not unpacked in museums! [...] If this mass of pictures were seen (which are of very different values) that would only give the idea of ​​overproduction, ”she wrote to him.

Founding of the group Die Blaue Vier

After Scheyer in 1922 at the Bauhaus in Weimar a . a. met Paul Klee , Wassily Kandinsky and Lyonel Feininger , in 1923/24 she had the idea of ​​founding an artist group with them and Jawlensky that could represent them in the USA . Ten days before the contract was signed, Scheyer had "occupied a cabin on the steamer Germany for May 8th" to set off for America. On March 31, 1924, in memory of the editors of the Blue Rider, it was officially founded under the title Die Blaue Vier. Scheyer was commissioned "to work to spread her artistic ideas abroad, in particular through lectures and exhibitions". The contract also stipulated that Scheyer would initially take pictures of the four painters on commission. For the sale of the works it was determined that the artist was entitled to 50 percent, Scheyer should receive 30 percent. The remaining 20 percent had to be transferred to the joint cash register of the Blue Four, from which all expenses - advertising materials, slides, photos, stationery ... - had to be paid.

Galka Scheyer's brother Erich, art collector and canning manufacturer in Braunschweig, was a friend of the Braunschweig art collector Otto Ralfs . At the beginning of 1924, together with others interested in contemporary art, she founded the Society of Friends of Young Art (GFJK) in the city. Ralf's artist friend Kandinsky created the logo of gfjk and was also the honorary member . Ralfs took over the first chairmanship, the entrepreneur and art collector Hermann Querner junior became second chairman , Erich Scheyer became treasurer .

Scheyer in the USA

Galka Scheyer with Lyonel Feininger , Wassily Kandinsky , Paul Klee and Alexej Jawlensky , collage on a newspaper page of the San Francisco Examiner from November 1, 1925

In May 1924 Scheyer traveled across the Atlantic from Hamburg to New York with works of art by the four artists . From May to August she lived in Ossining , where she intended to paint again in the summer house of an artist. In August she moved to New York, where she organized the first Blue Four exhibition and prepared other exhibitions and slide shows at museums and other cultural institutions in the USA.

In the future, she taught the Blue Four artists about their activities and projects through “Cicular letters”, in which they often called the painters the “four blue kings”. In New York she had contact with Alexander Archipenko and his wife Angelica, with whom she made a tour of the USA in 1924/25. In August 1925, Scheyer settled in San Francisco , gave lectures and organized Blue Four exhibitions, which obviously did not bring in much financially, because Jawlensky complained to her: "In America a lot of money and little interest [...] in art". Envious of his colleagues, he wrote her a year later: “Klee, Kandinsky are good. Both have enough monthly not to worry ”.

First trip to Europe, 1928

In 1928 Scheyer returned to Europe, where she arrived “in Hamburg on June 5th”. First she traveled to Dessau , where the Bauhaus had meanwhile moved to visit Feininger, Kandinsky and Klee. In order to put together a new picture collection for sale in America, she wrote to Jawlensky from there: "I [...] will also come to Wiesbaden." International Congress for Art Education in Prague from July 29th to August 12th and her visit to Jawlensky in Wiesbaden, she traveled back to the USA on September 7th.

Asia trip, 1930/31

Scheyer spent the end of 1929 and the first months of 1930 in the Carmel-by-the-Sea artists' colony south of San Francisco.

At the invitation of Angelica Archipenko , she traveled to Bali on July 11, 1930 , which at the time had become a popular travel destination for Americans and Europeans thanks to the German painter and musician Walter Spies . Her route led her from San Francisco via Yokohama , Kobe , Shanghai , Hong Kong , Manila and Java to Bali. There she spent some time with Angelica Archipenko at Spies and collected Balinese works of art for the Art Gallery of Oakland . On the return trip she visited Beijing and Hawaii with Ms. Archipenko. On February 13, 1931, she arrived back in San Francisco by ship.

During their seven-month trip, contact with the Blue Four artists was almost completely broken. She did send them postcards on the way, but important correspondence from the painters of the time was lost or sent back. In July she sent money to Jawlensky, for which he thanked him: “You help me with the money indefinitely”. In September 1931 Scheyer went to Mexico , where she lived in Coyoacán , a suburb of Mexico City , with Frida Kahlo and Diego Rivera . There she met Ángel Bracho , Carlos Mérida , Rufino Tamayo and other Mexican artists.

Second and last trip to Europe, 1932/33

In October 1932 Scheyer traveled to Europe again. In Paris, she first met her friend Lette Valeska. The purpose of the Paris stay was to visit artists, for example with Giorgio de Chirico , Le Corbusier , Marcel Duchamp and Fernand Léger . From Paris she traveled to Germany, where she spent the turn of the year with her family in Braunschweig. As an American Jew , after Hitler came to power on January 30, 1933 , she learned not only the anti-Semitic propaganda of the National Socialists , but also how modern art was degeneratewas defamed. In 1932 the Bauhaus in Dessau was closed and moved to Berlin-Steglitz . Now she experienced the house search and the temporary closure of this institution by the National Socialists, which in July - after her departure - led to the forced self-dissolution. In May, she returned to the USA with a new collection of pictures of the Blue Four and held her last extensive Blue Four exhibition in Los Angeles in October 1933 . On September 25, Jawlensky reported desperately: “I am not allowed to exhibit here. What now?"

Hollywood

In August 1933, Scheyer had bought a plot of land in the mountains above Hollywood to build a gallery house, although she was “short of money”. The building was designed by Richard Neutra . The access road to her house was named "Blue Heights Drive" on her initiative, which she created a connection with her work for Die Blaue Vier. In 1934 her house was ready for occupancy, so that she could organize events from May onwards. Among the visitors were the film actors Billie Burke , Marlene Dietrich , Greta Garbo , Edward G. Robinson and the film directors Dorothy Arzner , Fritz Lang ,Josef von Sternberg , the writer Erich Maria Remarque and the conductor Leopold Stokowski .

After 1933, the American art market for Die Blaue Vier stagnated because it was inundated with low-priced works of art that had been branded as degenerate. When there were disagreements with Feininger and Kandinsky, Scheyer increasingly decided to have solo exhibitions of her four kings.

From the mid-1930s onwards, Scheyer's situation worsened because her brothers were no longer able to support her financially. 30 June 1938 she had her company far below price to the cannery Meinecke sell, were after the Kristallnacht pogrom of November 10, 1938 arrested and taken to Buchenwald concentration camp and before their departure in 1939 in the morning US and UK by National Socialists expropriated. It was planned to bring the mother abroad, which did not succeed. In 1942 she committed suicide, knowing that she was about to be deported to a concentration camp .

With a letter dated November 22, 1938, which was informative for the writing of art history, Scheyer was informed by Kandinsky about the origin of the first exhibition of the reaction of the Blue Rider. He wrote to her: The NKVM was founded in 1908. I resigned at the end of 1911. Immediately afterwards, with the help of Franz Marc, I organized an exhibition for the editorial staff of the BR [Blue Rider] at Thannhauser. Our halls were close to the rooms of the NKVM exhibition. It was a sensation. Since I foresaw the 'noise' in good time, I had prepared a wealth of exhibition material for the BR. So the two exhibitions took place at the same time. The first copies of the "Spiritual in Art" were on the tables of the Thannhauser Gallery. "The revenge was sweet!"

In the war year 1939, John Cage , an admirer of Jawlensky's art, helped her to several solo exhibitions in Washington State . In 1941 she did her last Blue Four exhibition in Honolulu , Hawaii . In the two following years she only had two more solo exhibitions. Klee died in Muralto in 1940 , Jawlensky in Wiesbaden in 1941 and Kandinsky in Paris in 1944. Terminally ill with cancer, Scheyer only survived them for a short time. At the age of 56, she died in her home on Blue Heights Drive in Hollywood in 1945. After the death of her friend Galka Scheyer on December 13, 1945, Valeska arranged her archive and estate, which was known as "The Blue Four Galka Scheyer Collection"Norton Simon Museum in Pasadena went. In the Stöckheim district of her hometown Braunschweig, Emmy-Scheyer-Strasse was named after her.

Jawlensky's dedications for Galka Scheyer

Jawlensky's works has only four paintings with dedications to Galka Scheyer, all from before the "Meditations" come

  • “To my little dear Galka. Your pechalni. "
  • “Faith determines the meaning of life. Dear Galka. "
  • “The artist is either a high priest or a more or less skilful buffoon. My dear Galka. "
  • "My dear Galka in the bag for his birthday in 1932, made with a sick hand, but with deep feeling."

Blue four-group exhibitions

literature

  • Gabriele Armenat (ed.): Women from Braunschweig. 3rd considerably expanded and improved edition, Braunschweig 1991.
  • Reinhard Bein : You lived in Braunschweig. Biographical notes on the Jews buried in Braunschweig (1797 to 1983). In: Messages from the Braunschweig City Archives. No. 1, Döring Druck, Braunschweig 2009, ISBN 978-3-925268-30-4 .
  • Vivian Endicott Barnett: The founding of the Blue Four and their presentation in New York 1924–1925. In: Exhibition catalog Die Blaue Vier - Feininger, Jawlensky, Kandinsky, Klee in the New World. Kunstmuseum Bern, DuMont, Cologne 1997, p. 15 ff., ISBN 978-3-7701-4415-0 .
  • Bernd Fäthke: Jawlensky and his companions in a new light. Munich 2004, p. 178 ff., ISBN 978-3-7774-2455-2 .
  • Bernd Fäthke: Marianne Werefkin. Munich 2001, pp. 190 ff., ISBN 978-3-7774-9040-3 .
  • Walther Fuchs, “THE GALKA SCHEYER HOUSE BY RICHARD NEUTRA. A PROMENADE ARCHITECTURALE «, in: Zwitscher - Machine. Journal on Paul Klee / Zeitschrift für internationale Klee - Studien , 2020, H. 9, S. 24–41, https://doi.org/10.5281/zenodo.3979284
  • Christina Houstian: Minister, Nanny, Little Friend: Galka Scheyer and the Blue Four. In: Exhibition catalog Die Blaue Vier - Feininger, Jawlensky, Kandinsky, Klee in the New World. Kunstmuseum Bern, DuMont, Cologne 1997, p. 29 ff., ISBN 978-3-7701-4415-0 .
  • Alexej Jawlensky: Correspondence with Emmy Scheyer, Kandinsky and other friends. Copies and copies by Lette Valeska, private archive for expressionist painting, Wiesbaden.
  • Alexej Jawlensky: Memoirs. In: Clemens Weiler (Ed.): Alexej Jawlensky, Heads-Faces-Meditations. Hanau 1970.
  • Angelica Jawlensky: I put my art in your hands. Emmy Scheyer and Alexej von Jawlensky, a friendship. In: Exhibition catalog Die Blaue Vier - Feininger, Jawlensky, Kandinsky, Klee in the New World. Kunstmuseum Bern, DuMont, Cologne 1997, p. 63 ff., ISBN 978-3-7701-4415-0 .
  • Peter Lufft : Scheyer, Emmy (Emilie), In: Luitgard Camerer , Manfred Garzmann , Wolf-Dieter Schuegraf (Ed.): Braunschweiger Stadtlexikon . Joh. Heinr. Meyer Verlag, Braunschweig 1992, ISBN 3-926701-14-5 , p. 116 .
  • Peter Lufft: Scheyer, Emilie "Emmy", In: Horst-Rüdiger Jarck , Günter Scheel (Ed.): Braunschweigisches Biographisches Lexikon - 19th and 20th centuries . Hahnsche Buchhandlung, Hannover 1996, ISBN 3-7752-5838-8 , p. 518 f .
  • Lette Valeska : Letter to Clemens Weiler. Los Angeles November 12, 1957, private archive for expressionist painting, Wiesbaden.
  • Städtische Galerie im Lenbachhaus (ed.): Exhibition catalog: Alexej Jawlensky 1864–1941. Munich 1983.
  • Clemens Weiler : Galka Scheyer. Portrait of a woman from Brunswick. In: Bert Bilzer , Richard Moderhack (eds.): BRUNSVICENSIA JUDAICA. Memorial book for the Jewish fellow citizens of the city of Braunschweig 1933–1945. In: Braunschweiger Werkstücke , Volume 35, Braunschweig 1966, pp. 94–96.
  • Isabel Wünsche (Ed.): Galka E. Scheyer & Die Blaue Vier, Correspondence 1924–1945. Wabern, Bern 2006, ISBN 3-7165-1429-2 .

Web links

Commons : Galka Scheyer  - Collection of images, videos and audio files

Individual evidence

  1. ↑ a b c Manfred RW Garzmann and Wolf-Dieter Schuegraf with substantial assistance from Norman-Mathias Pingel (ed. On behalf of the city of Braunschweig): Braunschweiger Stadtlexikon. Supplementary volume. Johann Heinrich Meyer Verlag, Braunschweig, 1996, p. 116.
  2. ↑ Houstian: Minister, Nanny, Little Friend: Galka Scheyer and the Blue Four. 1997, p. 29.
  3. ↑ a b c Reinhard Bein : Eternal House - Jewish cemeteries in the city and country of Braunschweig . Döring Druck, Braunschweig 2004, ISBN 3-925268-24-3 , p. 243-244 .
  4. ↑ a b website "Stumbling blocks for Braunschweig."
  5. ↑ a b c d Valeska: Letter to Clemens Weiler. Los Angeles November 12, 1957, p. 2.
  6. ↑ Isabel Wünsche (Ed.): Galka E. Scheyer & Die Blaue Vier, Correspondence 1924-1945. Wabern / Bern 2006, p. 279, note 169
  7. ↑ a b Houstian: Minister, nannies, Little Friend: Galka Scheyer and the Blue Four. 1997, p. 30.
  8. ^ Wishes: Galka E. Scheyer & Die Blaue Vier, Correspondence 1924–1945. 2006, p. 3.
  9. ^ Wishes: Galka E. Scheyer & Die Blaue Vier, Correspondence 1924–1945. 2006, p. 3.
  10. ^ Wishes: Galka E. Scheyer & Die Blaue Vier, Correspondence 1924–1945. 2006, p. 361.
  11. ↑ a b Jawlensky: Memoirs. 1970, p. 118.
  12. ↑ Houstian: Minister, Nanny, Little Friend: Galka Scheyer and the Blue Four. 1997, p. 30.
  13. ↑ Jawlensky: > I have placed my art in your hands <. Emmy Scheyer and Alexej von Jawlensky, a friendship. 1997, p. 69.
  14. ↑ Bernd Fäthke: Jawlensky and his companions in a new light. Munich 2004, p. 187f.
  15. ^ Jawlensky: Correspondence. Jawlensky to Scheyer, October 11, 1919.
  16. ↑ Jawlensky: > I have placed my art in your hands <. Emmy Scheyer and Alexej von Jawlensky, a friendship. 1997, p. 68.
  17. ↑ Jawlensky: > I have placed my art in your hands <. Emmy Scheyer and Alexej von Jawlensky a friendship. 1997, p. 66.
  18. ↑ Städtische Galerie im Lenbachhaus (ed.): Exh. Cat .: Alexej Jawlensky 1864–1941. Munich 1983, p. 110, Jawlensky to Scheyer, October 20, 1919.
  19. ^ Jawlensky: Correspondence. Jawlensky to Scheyer, October 22, 1919.
  20. ↑ Städtische Galerie im Lenbachhaus (ed.): Exh. Cat .: Alexej Jawlensky 1864–1941. Munich 1983, p. 111, Jawlensky to Scheyer, October 22 or 30, 1919.
  21. ^ Jawlensky: Correspondence. Jawlensky to Scheyer, November 26, 1919.
  22. ↑ Christine Brückner: Jauche and Levkojen. Frankfurt 1975, p. 141.
  23. ^ EE Scheyer: Alexej von Jawlensky. o. O., 1920/21, p. 3.
  24. ↑ Alexander Hildebrand: Alexej Jawlensky in Wiesbaden Reflexes on Life and Work (1921–1941). in exh. Cat .: Jawlensky's Japanese woodcut collection. A fairytale discovery, edition by the Administration of State Palaces and Gardens, Bad Homburg vdH, No. 2, 1992, p. 69, note 17.
  25. ↑ Jawlensky: > I have placed my art in your hands <. Emmy Scheyer and Alexej von Jawlensky a friendship. 1997, p. 70.
  26. ↑ Jawlensky: Memoirs. 1970, p. 119.
  27. ↑ Alexander Hildebrand, Heinrich Kirchhoff: The cultural life Wiesbaden. 1972, p. 42 ff.
  28. ↑ Alexander Hildebrand, Heinrich Kirchhoff: Wiesbaden International. 1983, no. 4, p. 28 ff.
  29. ↑ Jawlensky: > I have placed my art in your hands <. Emmy Scheyer and Alexej von Jawlensky a friendship. 1997, p. 71.Scheyer, letter to Jawlenky dated December 21, 1921.
  30. ^ Jawlensky: Correspondence. Scheyer to Jawlensky, March 21, 1924.
  31. ↑ Vivian Endicott Barnett: The founding of the Blue Four and their presentation in New York 1924-1925. in exh. Cat .: The Blue Four Feininger, Jawlensky, Kandinsky, Klee in the New World. Kunstmuseum Bern 1997, p. 18.
  32. ^ Hansjörg Pötzsch: Friends of Art and Artists. Galka Scheyer, Otto Ralfs and the Society of Friends of Young Art. In: Katja Lembke , Jochen Luckhardt , et al .: Low German contributions to art history. New Series, Volume 3, Contributions to Modern Art , 2018, ISBN 978-3-731907-58-9 , pp. 189–212.
  33. ^ Stiftung Residenzschloss Braunschweig (ed.): Society of Friends of Young Art. Exhibition catalog, Braunschweig 2019, ISBN 978-3-9818158-6-3 , p. 1.
  34. ↑ Jawlensky: I put my art in your hands. Emmy Scheyer and Alexej von Jawlensky a friendship. 1997, p. 75.
  35. ^ Jawlensky: Correspondence. Scheyer to Jawlensky, August 28, 1924.
  36. ^ Jawlensky: Correspondence. Jawlensky to Scheyer, November 1, 1925.
  37. ^ Jawlensky: Correspondence. Jawlensky to Scheyer, March 3, 1926.
  38. ^ Jawlensky: Correspondence. Scheyer to Jawlensky, March 22, 1928.
  39. ^ Jawlensky: Correspondence. Scheyer to Jawlensky, June 12, 1928.
  40. ^ Jawlensky: Correspondence. Jawlensky to Scheyer, July 29, 1931.
  41. ^ Jawlensky: Correspondence. Jawlensky to Scheyer, September 25, 1933.
  42. ^ Wishes: Galka E. Scheyer & Die Blaue Vier, Correspondence 1924–1945. 2006, p. 222.
  43. ^ Walther Fuchs: The Galka Scheyer House by Richard Neutra. A Promenade Architecturale . In: Twitter machine. Journal on Paul Klee / Journal for International Klee Studies . No. 9 , August 11, 2020, p. 24–41 , doi : 10.5281 / zenodo.3979284 ( zenodo.org [accessed August 29, 2020]).
  44. ↑ This two-sided letter is published in full with the handwritten signature of Kandinsky by: Bernd Fäthke: Alexej Jawlensky, heads etched and painted. The Wiesbaden years . Galerie Draheim, Wiesbaden 2012, ISBN 978-3-00-037815-7 , p. 56 ff, fig. 54 and 55.
personal data
SURNAME Scheyer, Galka
ALTERNATIVE NAMES Scheyer, Emilie Esther
BRIEF DESCRIPTION German-American painter, art dealer and art collector
DATE OF BIRTH April 15, 1889
PLACE OF BIRTH Braunschweig
DATE OF DEATH December 13, 1945
Place of death Hollywood