Big variation, big way, evening

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Great Variation, Great Way, Evening is the title of a painting by the German-Russian painter Alexej Jawlensky . In 1952 it was acquired in Cologne by the then Clemens Weiler for the Wiesbaden Museum . It bears the inventory number M 389.

Technology and image carriers

The painting “Great Variation, Great Way, Evening” is an oil painting, portrait format, 52.5 × 35 cm, on canvas-structured painting paper. It is signed lower left in the picture 'A. Jawlensky ”and not dated. “Inscribed on the reverse lower right (in black ink): A. Jawlensky / 1916 / St. Prex / Switzerland; Inscribed upper right (by Lisa Kümmel [?] in black ink): N. 19/1916, in the middle by another hand: - Großer Weg Abend / - Großer Weg - / Abend / 1916. ”The picture is listed in the“ Catalog the painting ”in Weiler's 1959, in the 'workshop directory' of 1970 by Weiler, in the 1991 'Catalog Raisonné' of the Jawlensky Archive, 1997 in the Jawlensky inventory catalog of the Wiesbaden Museum, 2014 in the exhibition catalog 'Horizont Jawlensky' 2014.

Landscape variations

“Jawlensky uses a large number of different composition schemes for his landscape variations, but only two standard formats. At 52 x 35 cm, this work is one of the larger-format variations, a format size that is almost no longer used from 1917 onwards. In the workshop directory, variation number 19 from 1916 is provided with the addition "Great red path with black door". "

iconography

Shortly after the outbreak of World War I , Jawlensky had to leave his adopted home of Munich. With Marianne von Werefkin , their cook Helene, theirs and his son Andreas , he fled into exile in Switzerland to Saint-Prex on Lake Geneva . The wealthy Werefkin rented the upper floor of a modest house there. “Jawlensky had a small room with a window that overlooks the one in front of the house, which unites from both sides and gently slopes down to the lake. Released road. Over the garden path bordered by shrubs, which was closed with an iron gate, the view went over the street [...] and sometimes, when the view was clear, one looked out over the lake and in good weather even on the mountains of the other bank. […] He sat at a small easel by the window and painted the motif of the path in all its moods of the time of day and the season and in all the moods of his own interior. He had set himself the task of depicting the harmony between the mood of nature and soul with these "variations on a landscape theme", these songs sung in colors. "

literature

  • Clemens Weiler: Alexej Jawlensky. Cologne 1959
  • Maria Jawlensky, Lucia Pieroni-Jawlensky, Angelica Jawlensky (eds.), Alexej von Jawlensky, Catalog Raisonné of the oil-paintings, Vol. 1, Munich 1991, No. 848
  • Ingrid Koszinowski: Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum Wiesbaden 1997, No. 19, p. 33.
  • Roman Zieglgänsberger (Ed.), Exhib. Cat .: Horizont Jawlensky 1900–1914, Alexej von Jawlensky in the mirror of his encounters, Museum Wiesbaden 2014, cat. No. 91, p. 300, color illus. P. 276

Individual evidence

  1. ^ Ingrid Koszinowski: Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum Wiesbaden 1997, No. 19, p. 33
  2. ↑ Clemens Weiler: Alexej Jawlensky. Cologne 1959, No. 609, p. 270
  3. ↑ Clemens Weiler, Alexej Jawlensky, Heads-Face-Meditations, Hanau 1970, p. 142
  4. ↑ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (Eds.), Alexej von Jawlensky, Catalog Raisonné of the oil-paintings, Vol. 1, Munich 1991, No. 848, p. 168, color illus. P. 170
  5. ^ Ingrid Koszinowski: Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum. Wiesbaden 1997, No. 19, p. 33, color illus. P. 32
  6. ↑ Roman Zieglgänsberger (ed.), Exhib. Cat .: Horizont Jawlensky 1900-1914, Alexej von Jawlensky in the mirror of his encounters, Museum Wiesbaden 2014, cat.no.91, p. 300, color illus. P. 276
  7. ^ Ingrid Koszinowski: Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum Wiesbaden 1997, No. 19, p. 33
  8. ↑ Bernd Fäthke: Marianne Werefkin. Munich 2001, p. 57, Doc. 7th
  9. ↑ Clemens Weiler: Alexej Jawlensky. Cologne 1959, p. 89 f