Helene Nesnakomoff

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Alexej Jawlensky: Helene in a Spanish costume , oil on canvas, 1904, Wiesbaden Museum

Helene Nesnakomoff ( Russian Елена Михайловна Незнакомова , Jelena Michailovna Nesnakomowa * 18th March 1885 in Pratschy in Russia ; † 17th March 1965 in Locarno ) was a long-time staff of Marianne of Werefkin , mistress and model of Alexei Jawlensky before him in 1922 married at the age of thirty-seven. The three were linked by a ménage-à-trois that lasted for decades. Jawlensky created several portraits of Helene Nesnakomoff.

Life

origin

There are several versions of Helene Nesnakomoff's parentage . One of the first was published in 1959. It says that Helene “comes from a Ukrainian peasant family and has lived in the immediate vicinity of the Werefkins since her early youth. According to her blood, she was a child closely related to her native nature. ”According to the editors of the Jawlensky catalog raisonné, however, in 1991 Helene came from a family of merchants who were acquainted with the Werefkins. She is said to have been placed in the care of the Werefkins, so that, according to the customs of the time, she would be prepared for high society. Authentic information on Helene Nesnakomoff's origin, age, occupation and her family can be obtained from a letter from Werefkin from 1919, which has been preserved as a draft letter in the archives of the Fondazione Marianne Werefkin . Werefkin sent the letter from Ascona to her confidante August skull in Munich, who had access to her safe . For decades the letter had been overlooked in the Ascones archives. In it Werefkin describes: “ Helene Nesnakomoff, a 9-year-old girl, was an apprentice to my [then] maid . She came into the house after the death of her stepfather, the police soldier with us in the spot , who left the mother, who drank heavily, with three children as a beggar . One daughter, Marie, was put in a girls' asylum. Helene allowed my father to come into the house. The son stayed with his mother and was a thief [...] who couldn't be changed. Since the mother was unreliable, our administrator advised that she should cede all her rights to me, which she did. ”“ Admitted to the Werefkin house, where she could live well and warmly, ”the still child girl had to have her food and accommodation to earn."

First meeting between Nesnakomoff and Jawlensky

Helene Nesnakomoff first met Jawlensky on the Werefkin estate "Blagodat", which is about seven kilometers northwest of the Lithuanian city ​​of Utena . Werefkin wrote about it to August Schädl: “So came autumn 1895. - Helene was ten years old. - I had another maid a long time ago, a wonderful but lovely person. […] Despite her years, she sat as a model for Jawlensky and was madly in love with him. […] In order to cure her psychoses, I went to Petersburg with my father and the maid. Jawlensky kept 10 year old Helene under his care on our estate. "

Relocation from Russia to Munich

When Werefkin's father died in 1896, the baroness, the daughter of a high dignitary, namely the commandant of the Peter and Paul Fortress in Saint Petersburg , received a generous tsarist pension of "seven thousand rubles per annum". At the time, her annual pension was equivalent to around twenty-two thousand marks. After the loss of her father, Werefkin no longer felt bound to live in Russia and from then on wore her revered father, " Alexander's steward , in a medallion around her neck". She moved to Munich with Jawlensky, "Helene Nesnakomoff came with us to personally serve the Werefkin." Pragmatic considerations must have been decisive in the decision to choose Munich as the adopted home. Due to the former high position of her father and her noble origins, Werefkin had good relations on the one hand with the Russian embassy in the capital of the King of Bavaria and on the other hand with the Bavarian aristocracy . The date of the Werefkin's arrival in Munich was October 27, 1896. She had rented a double apartment in the Schwabing district at 23 Giselastrasse, on the third floor . This was equipped according to the latest standard, in which it was able to receive high-ranking politicians and aristocrats, important museum people and gallery owners, as well as the international bohemian .

Son Andreas

Helene Nesnakomoff's son Andreas Jawlensky was born according to the Julian calendar on January 18, 1902 on an estate called Anspaki in Vitebsk Governorate . His date of birth is mentioned for the first time in a marginal note on the Werefkin's passport. This addendum was written during the return journey from Russia on October 12, 1902 in Yaroslavl and gives the date according to the Gregorian calendar in Russian and French: "André, ne le 5th Janvier 1902. “When Helene Nesnakomoff was expecting a child from Alexej Jawlensky in 1901 [at the age of sixteen],“ marriage was out of the question. Discretion unavoidable ”, because the actual facts about paternity were not allowed to become known in Munich at the beginning of the 20th century, otherwise Jawlensky would have had embarrassing problems with the legal system in force at the time, especially since he had no plans to marry the child's mother. It is not clear whether Jawlensky and Werefkin witnessed the birth of Andreas in Anspaki. It is known, however, that Helene Nesnakomoffs older sister Maria was there while Jawlensky and Werefkin had gone on "Russia Tour" to refer to the Crimea in the luxury bathroom Alupka with Dmitri Kardowsky to meet and his wife Olga. After a little more than a year, they returned to Munich on November 23, 1902. Maria Nesnakomoff came along as well, as evidenced by her legitimation certificate. This shows that they acted as "chambermaids" and Helene as "cook" in the Werefkin household. A “missing list” had to be created for Helene Nesnakomoff, as her legitimation document from 1896, which the Bavarian authorities had created at the time, had been - puzzlingly - lost. It is also inexplicable that the royal Bavarian officials mixed up the sisters' dates of birth. The registration authorities mistakenly entered 1885 as the year of birth of the older Maria, but 1881 in the “missing list” of the younger Helene. The intended “identity swap” had been specifically arranged by Werefkin and in order to additionally cover up the affair “Andreas went on to be a nephew in Munich 'issued by Jawlensky. "

Maria Nesnakomoff

Maria Nesnakomoff was perceived as a burden by Werefkin after a two-year stay in the apartment on Giselastrasse. Tired of the “sisterly allies of Helene”, she sent them back to Russia towards the end of 1904. As the new maid, "an impartial Munich woman named Christel" took her place, who can still be traced back to 1906 in the Werefkin household.

Painting "Helene in a Spanish costume"

When Andreas was two years old, Jawlensky painted his largest oil painting , a portrait of Helene in a Spanish costume . When it had just finished painting and was still wet on the easel , Lovis Corinth saw it. It was Monday, February 22, 1904. Werefkin recorded the date and Corinth's visit in her diary.

Trip to France in 1906

Jawlenskys was wrong when he dated his long trip to France with Werefkin, Helene Nesnakomoff and son Andreas in 1905 instead of 1906. In his memoirs he falsely wrote: "In the spring of 1905 we all went to Brittany to the sea to Caranteque ." At that time, in 1905 in Brittany, according to the catalog raisonné u. a. also the painting The Bucklige , which was initially called Buckliger Sailor, Bretagne . For Helene Nesnakomoff and her son Andreas it was their first trip, which took them to France in 1906. Christel, the housemaid exchanged for Maria Nesnakomoff, had to take care of the Munich household while her Russian employer was away abroad. The journey from Carantec went via Paris "to Provence and Sausset on the Mediterranean, where we stayed until Christmas," says Jawlensky. At first he blocked himself from continuing to the south of France and wanted to return directly to Bavaria from Paris with Helene Nesnakomoff. Werefkin responded: "She couldn't do without Helene, because after all they had rented a large house in Sausset-Les-Pins," where it was her job, as always, to take care of the household and go shopping in shops and at the "market" to do. Werefkin also argued: “The local nature enchants me more and more every day. The colors all around are an inexhaustible source for an artist. […] I don't want to exchange the sun for the fog in Munich earlier than we agreed to. ”After ten years of abstinence from painting, Werefkin returned to the Provence with a sketchbook , colored pencils and pastel crayons.

Trip to the Baltic Sea

Alexej Jawlensky: Helene , 1911, private collection

In his memoirs, Jawlensky reports: "In the spring of 1911 we went to the Baltic Sea to Prerow , Werefkin, André, Helene and me." As in Sausset-Les-Pins, Helene could not be done without in Prerow. As is customary “during the period before the turn of the century and before the First World War, many families brought their own cook”, who also had to run the household here, do shopping in shops and at markets. So did the Russian summer visitors who stayed in the "Villa Seestern". It was located at Waldstrasse 13 and, for the time, was comfortably furnished with five rooms, a glazed veranda and an arbor in the garden. “Probably Werefkin had let their aristocratic relationships play. The comfortable accommodation was usually available to members of the court of Prussian Prince Eitel Friedrich , whenever the second son of Wilhelm II was hunting hares in the coastal landscape. "The holiday guests' entry in the tourist list of 1911 was:" Miss. Excellent v. Werefkin, Marianne, Russia; Mr. v. Jawlensky, Alex., Staff Captain a. D., Russia; Nesnakomoff, Helene and Son, Russia. "

Nude model

Marianne von Werefkin: Helene , around 1909, private property

When Werefkin enrolled in Prjanischnikow's painting class in Moscow in 1883 , she found a teaching program that was relatively modern compared to the situation at the St. Petersburg Academy. With him she perfected her portraiture. Open-minded and not at all prudish, she was amazed that, strangely enough , the nude drawing was still based on plaster models. A look into Werefkin's St. Petersburg studio reveals around a dozen pictures, all of which must be considered lost today. The portrait of a colored house servant can be recognized. In addition, it can be discovered that Werefkin not only painted portraits back then, but also multi-figured genre scenes , landscapes and several nudes. From the beginning of his career, Jawlensky showed a particular interest in nude painting . He attended various courses at the St. Petersburg Academy. In October 1892 he moved up to the nude class, where his "pencil portraits" were praised. In October 1894 he was still in the nude class. In Munich he valued the evening life drawing with his teacher Anton Ažbe , who was “famous for his ability to breathe life into a bad act of his students with a few strokes”. Jawlensky triggered an unusual incident when he induced the painter monk Verkade to paint nudes, so that he had to paint a church in Jerusalem as a penance . Jawlensky's catalog raisonné lists more than 150 female files. Helene Nesnakomoff does not portray a single one. This is astonishing because she made herself available as a nude model for Werefkin several times .

Stay in Oberstdorf

In his memoirs, Jawlensky wrote: “In the summer of 1912 we all went to Oberstdorf and stayed there until December. The painter Kardowsky came later with his family. ”Jawlensky's statement“ we all ”remains vague. At first it is not clear whether he is saying that Helene and Andreas Nesnakomoff were also part of the party. You can only find out from a photo that was found in the Werefkin's estate . Apparently they had gathered in a garden in their Sunday best for an arranged souvenir photo. It shows Helene Nesnakomoff standing from left to right with her son Andreas in a white sailor suit , Jawlensky with a bow tie, Kardowsky with a tie, Olga Kardowsky sitting on a bench in front of it with a parasol and daughter Ekatarina, Werefkin and her dachshund Moritz sitting at her feet.

First World War, relocation to Ascona

For 1914 Jawlensky reports: “At the beginning of August there was war and we had to go to Switzerland. We had to leave our apartment with all the furniture and art objects [...] We couldn't even take our poor cat with us. ”Jawlensky consistently used the term“ we ”in his memoirs and wanted to say that he, Werefkin, Helene and Andreas are meant. The name Werefkin or Andreas is rarely mentioned, but Helene Nesnakomoff's name is never mentioned. Without exception, however, it is included with the “we” in every change of location - 1914 to St. Prex , 1917 to Zurich and 1918 to Ascona .

In the Italian-speaking Ticino, too, Nesnakomoff took care of the household and made purchases for the kitchen, just like at the previous stations in Germany or France. The fact that the ménage à trois began to dissolve was not only observed by Claire Goll . She wrote: “The ramshackle mansion that they lived in in Ascona resounded with quarreling voices from morning to evening. One day it should come to the point that Grand Seigneur Jawlensky disowned Werefkin and married the cook. ”Before that, Helene and Andreas Nesnakomoff had left their apartment in the Castello and rented in the neighborhood. "From then on, the baroness dined in her 'cook' s lodgings - until Jawlensky called his family over."

Apartment liquidation in Munich

In order to be able to enter Germany in 1920 for the purpose of dissolving the joint Munich apartment, Werefkin obtained a residence permit from the Munich Police Department for himself, Jawlensky, Helene Nesnakomoff and their son Andreas on June 10, 1920 . Previously, certificates of good conduct had to be applied for. The one for Helene Nesnakomoff with Andreas has been preserved in the Werefkin estate. In it, the community of Ascona declared on April 28, 1920: "that Mrs. Elena Nesnakomoff and her son Andreas, both of whom have lived here for about two years, have always displayed commendable behavior from all points of view."

When Werefkin's double apartment in Munich had to be vacated when the war broke out, Werefkin handed over control of the keys to Paul Klee and his wife Lily before fleeing to Switzerland . On April 13, 1920, Ms. Klee had received a letter from the Municipal Housing Office in Munich in which, as the administrator, she was threatened with the confiscation of the studios and living quarters at Giselastraße 23 / III. Thereupon Ms. Klee checked the apartment entrusted to her and discovered that there had been a break-in in the meantime and reported this to the Werefkin in Ascona. Werefkin then hired a Munich detective agency called Blüml to investigate the theft. On May 18, 1920, the office issued a report showing details. Werefkin immediately reported the theft to the police in Munich. At the same time, on June 10, 1920, she obtained a residence permit from the Munich Police Department for herself, Jawlensky, Helene and Andreas Nesnakomoff, and a witness summons for herself and Helene Nesnakomoff. On May 3, 1920, Werefkin received from the German consulate in Lugano an ID card valid for three months for the Reich territory. It shows that May 5, 1920 was the day of their entry and July 15, 1920 was the day of their departure. Apart from the relatively insignificant losses from the theft, Werefkin and Jawlensky had their property back. The household was initially stored with a Munich forwarding company, because at the time the apartment was liquidated, a return to Germany was planned. After Jawlensky had left the baroness, he spent his part around 1922 in his new home, Wiesbaden . Werefkin's share remained in Munich until the late twenties, before she gave away furniture, the rest of the household effects and pictures to her nephew, Alexander von Werefkin (1904–1982), who bequeathed some of them to Ernst Alfred Aye .

Marriage in Wiesbaden

In Wiesbaden, Jawlensky's mesalliance on July 20, 1922 was the subject of discussion. “Helene made a rural impression. She liked to work in the garden, kept the household squeaky clean, but knew nothing of avant-garde art, and when guests came into the house, she retired to the kitchen. She remained the woman limited to the household. ”As far as Jawlensky's painting was concerned, Nesnakomoff“ could do almost nothing with her. She only liked still lifes and flower pictures. Alo Altripp saw how Helene described the meditations, her husband's old work, as 'daddy's stupid little cross'. "Some Wiesbaden residents stated that" Helene had a natural gift for intuiting other people, a gift she had also used in palmistry . [...] In her marriage she suffered from the many affairs that her enthusiastic husband allowed himself. "

Training as a beautician

Jawlensky asked Karl Im Obersteg (KlO) in 1927 for help for his wife Helene Nesnakomoff. After a serious operation, she needed a recovery in the south of Switzerland. Im Obersteg took care of the visa and deposited 2000 Swiss francs as bail for the stateless Russian. “The Basel resident also later supported Helene's desire to train as a beautician in Paris so that he could then open a beauty salon in Wiesbaden [...]. The several months of training in Paris (November to Christmas 1927 and February to mid-April 1928) were financed through the sale of Jawlensky's pictures in Switzerland by Karl Im Obersteg. ”“ With diplomas from Paris, Helene opened in Wiesbaden's Rheinstrasse corner of Wilhelmstrasse the beauty institute Susanne. [...] is known, remained in Helene's Institute Susanne during the time of the Great Depression the customers, so that Helene had to give up after some time. "

Towards the end of his life, the terminally ill Jawlensky was worried about his wife. He discussed with Lisa Kümmel how he should distribute his inheritance. The artist, permanently suffering from lack of money, hoped for financial help for Helene Nesnakomoff from America, when on June 20, 1940 he asked Lisa “to write a letter to Galka in his name : 'My illness got into my head and I now hear worse and worse . get pain in my eyes. But I still live. - I ask you again, if I won't be there anymore, don't forget Helene [...] Oh Galka, what a beautiful life you have so far from the war. "

Saving Jawlensky's pictures

At the end of the Second World War “Helene's Jawlensky pictures were distributed among various hiding places. There was a hiding place a few houses away in Otto Henkell's villa at Beethovenstrasse 40. After the war, Helene litigated the victorious Americans for these pictures. The compensation awarded to her was small because it was calculated in Reichsmarks and not in D-Marks . In another place, in a shed belonging to a plumber friend , near the former synagogue on Wiesbaden's Michelsberg , Nesnakomoff had hidden other pictures that had been put together close together. On February 3, 1945, after a catastrophic night of bombing, Nesnakomoff picked up the undamaged pictures with a ladder cart . "

Death and burial

When the Red Army marched into Hungary in 1956 , Helene Nesnakomoff moved to Switzerland with her son Andreas Jawlensky-Nesnakomoff and his daughters Lucia and Angelica. The family found their residence in Locarno on Lake Maggiore . At the age of almost eighty, Helene Nesnakomoff suffered a stroke on March 15, 1965 in Locarno and gave her son and daughter-in-law “last instructions and asked for forgiveness if she was unjust and said, 'Goodbye, I'm not coming back.' […] On March 17th, at 3 o'clock in the morning, the heart stopped beating. [...] We organized in a hurry, transfer to Wiesbaden a. a moving funeral with a Russian choir, solemn funeral mass and the admired speeches of the mayor. ”On March 22, 1965, the Wiesbaden courier reported on the“ funeral service and prayer of the Russian congregation in the Orthodox Church on the Neroberg ”and Helene Nesnakomoff's final resting place in Her husband's grave in the Russian cemetery . Two years later it was discovered that the dates on the tombstone may not be accurate.

literature

exhibition

  • People of life. Alexej von Jawlensky and Marianne von Werefkin. Municipal Gallery in the Lenbachhaus Munich, October 2019 to February 2020. From March to July 2020 in the Wiesbaden Museum . (The exhibition also addresses the triangular relationship with Helene Nesnakomoff.)

Web links

Commons : Helene Nesnakomoff  - collection of pictures, videos and audio files

Individual evidence

  1. ↑ Legitimation, Munich City Archives, ill. In: Bernd Fäthke: Marianne Werefkin. Munich 2001, ISBN 3-7774-9040-7 , p. 56, Doc. 6, is a document that has been mixed up with Helene's sister Maria (Doc. 7).
  2. ↑ Clemens Weiler: Alexej Jawlensky. Cologne 1959, p. 26.
  3. ^ Maria Jawlensky, Lucia Pieroni-Jawlensky, Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné of the oil-paintings. Vol. 1. Munich 1991, p. 12.
  4. ^ Marianne Werefkin: Letter from Ascona to August Schädl in Munich, 1919. P. 1 13. Archive Fondazione Marianne Werefkin, Ascona; Copies also in the archives of the Städtische Galerie im Lenbachhaus and in the Murnau Castle Museum .
  5. ↑ teacher of Andreas Jawlensky , see: Brigitte Roßbeck: Marianne von Werefkin, The Russian woman from the circle of the Blue Rider. Munich 2010, ISBN 978-3-88680-913-4 , p. 291, note 80.
  6. ^ "Bank for Trade and Industry (Darmstädter Bank). (Munich branch Lenbachplatz). “Marianne Werefkin: Letter from Ascona to August Schädl in Munich, 1919. p. 1; Archive Fondazione Marianne Werefkin, Ascona; Copies also in the archives of the Städtische Galerie im Lenbachhaus and in the Murnau Castle Museum .
  7. ↑ Name "Blagodad."
  8. ^ Marianne Werefkin: Letter from Ascona to August Schädl in Munich, 1919. P. 6 f. Archive Fondazione Marianne Werefkin, Ascona. Copies also in the archives of the Städtische Galerie im Lenbachhaus and in the Murnau Castle Museum.
  9. ↑ Brigitte Roßbeck: Marianne von Werefkin, The Russian woman from the circle of the Blue Rider. Munich 2010, ISBN 978-3-88680-913-4 , p. 53.
  10. ↑ In German: Bliss
  11. ^ Marianne Werefkin: Letter from Ascona to August Schädl in Munich, 1919. P. 11 f. Archive Fondazione Marianne Werefkin, Ascona, copies also in the archives of the Städtische Galerie im Lenbachhaus and in the Murnau Castle Museum.
  12. ↑ Brigitte Roßbeck: Marianne von Werefkin, The Russian woman from the circle of the Blue Rider. Munich 2010, ISBN 978-3-88680-913-4 , p. 53.
  13. ↑ Brigitte Roßbeck: Marianne von Werefkin, The Russian woman from the circle of the Blue Rider. Munich 2010, ISBN 978-3-88680-913-4 , p. 59. The sum of 22,000 marks corresponds to approx. 150,000 euros.
  14. ↑ Else Lasker-Schüler : Marianne von Werefkin, Complete Poems. Munich 1966, p. 224.
  15. ↑ Alexej Jawlensky: Memoirs. In: Clemens Weiler (Ed.): Alexej Jawlensky, Heads-Faces-Meditations. Hanau 1970, p. 106.
  16. ^ Gustav Pauli : memories from seven decades. Tübingen 1936, p. 264 f.
  17. ↑ Bernd Fäthke: Marianne Werefkin. Munich 2001, ISBN 3-7774-9040-7 , p. 46, doc. 3.
  18. ^ Elisabeth Erdmann-Macke : Memories of August Macke. Frankfurt 1987, p. 238.
  19. ↑ According to reports from Alexander Werefkin (1904–1982), a nephew of the Werefkin, the apartment was very modern for the time with a bathroom and toilet.
  20. ^ Gustav Pauli: memories from seven decades. Tübingen 1936, p. 264.
  21. ^ Original in the archives of the Murnau Castle Museum . Compare: Andreas Röder: The passport from the Tsarist Empire: Donation to the Castle Museum. In: Murnauer Tagblatt, March 19, 2010.
  22. ↑ Bernd Fäthke: Alexej Jawlensky, drawing-graphic documents. Exhib. Cat .: Museum Wiesbaden 1983, p. 53, document 81
  23. ↑ Brigitte Roßbeck: Marianne von Werefkin, The Russian woman from the circle of the Blue Rider. Munich 2010, ISBN 978-3-88680-913-4 , p. 75.
  24. ^ Karl Lackner: Criminal Code with explanations. Munich 1993, p. 900, § 182. The criminal offense § 182 comes from the "Penal Code for the German Empire" of May 15, 1871, adapted in the Kingdom of Bavaria, which had joined the German Empire in 1871. Section 182 of the Criminal Code existed almost unchanged until 1994.
  25. ↑ Brigitte Roßbeck: Marianne von Werefkin, The Russian woman from the circle of the Blue Rider. Munich 2010, ISBN 978-3-88680-913-4 , p. 76.
  26. ↑ Brigitte Roßbeck: Marianne von Werefkin, The Russian woman from the circle of the Blue Rider. Munich 2010, ISBN 978-3-88680-913-4 , p. 77.
  27. ↑ Bernd Fäthke: Marianne Werefkin. Munich 2001, ISBN 3-7774-9040-7 , p. 55 ff.
  28. ^ Elisabeth Erdmann-Macke: Memories of August Macke. Frankfurt 1987, p. 238 ff.
  29. ↑ Brigitte Roßbeck: Marianne von Werefkin, The Russian woman from the circle of the Blue Rider. Munich 2010, ISBN 978-3-88680-913-4 , p. 77.
  30. ↑ Brigitte Roßbeck: Marianne von Werefkin, The Russian woman from the circle of the Blue Rider. Munich 2010, ISBN 978-3-88680-913-4 , p. 97.
  31. ↑ Brigitte Roßbeck: Marianne von Werefkin, The Russian woman from the circle of the Blue Rider. Munich 2010, ISBN 978-3-88680-913-4 , p. 103.
  32. ^ Marianne Werefkin: Lettres à un Inconnu, 1902–1906. Fondazione Marianne Werefkin , Museo comunale d'arte moderna, Ascona, vol. II, p. 273.
  33. ↑ Bernd Fäthke: Werefkin and Jawlensky with their son Andreas in the "Murnauer Zeit". In exh. Cat .: 1908–2008, 100 years ago, Kandinsky, Münter, Jawlensky, Werefkin in Murnau. Murnau Castle Museum 2008, p. 44.
  34. ↑ Alexej Jawlensky: Memoirs. In: Clemens Weiler (Ed.): Alexej Jawlensky, Heads - Face - Meditations. Hanau 1970, p. 109.
  35. ^ Maria Jawlensky, Lucia Pieroni-Jawlensky, Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné of the oil-paintings. Volume 1. Munich 1991, p. 83, no. 82, illus. P. 95.
  36. ↑ Alexej Jawlensky: Memoirs. In: Clemens Weiler (Ed.): Alexej Jawlensky, Heads - Face - Meditations. Hanau 1970, p. 109.
  37. ↑ Brigitte Roßbeck: Marianne von Werefkin, The Russian woman from the circle of the Blue Rider. Munich 2010, ISBN 978-3-88680-913-4 , p. 103.
  38. ↑ For example, Jawlensky Werefkin's cook Helene went shopping in the market to carry her heavy bags. See: Gabrielle Dufour-Kowalska: Marianne Werefkin, Lettres à un Inconnu. Paris 1999, p. 131: “L. [Jawlensky] accompagne […] la cuisinière au marché […]. ”In addition,“ Helene Nesnakomoff came with me to attend to the Werefkin personally. ”Cf. Alexej Jawlensky: Memoirs. In: Clemens Weiler (Ed.): Alexej Jawlensky, Heads - Face - Meditations. Hanau 1970, p. 106.
  39. ↑ Brigitte Roßbeck: Marianne von Werefkin, The Russian woman from the circle of the Blue Rider. Munich 2010, ISBN 978-3-88680-913-4 , p. 103.
  40. ↑ Alexej Jawlensky: Memories In: Clemens Weiler (Ed.): Alexej Jawlensky, Heads - Face - Meditations. Hanau 1970, p. 112.
  41. ^ Gerhard M. Schneidereit: Theodor Schultze-Jasmer, From Leipzig to Prerow on the Darß. Fischerhude 2006, p. 47.
  42. ↑ For example, Jawlensky Werefkin's cook Helene went shopping in the market to carry her heavy bags. See: Gabrielle Dufour-Kowalska: Marianne Werefkin, Lettres à un Inconnu. Paris 1999, p. 131: “L. [Jawlensky] accompagne […] la cuisinière au marché […]. "
  43. ↑ The building of the former "Villa Seestern" still exists and has since been rebuilt several times.
  44. ↑ Brigitte Roßbeck: Marianne von Werefkin, The Russian woman from the circle of the Blue Rider. Munich 2010, p. 166
  45. ↑ Bernd Fäthke: Marianne Werefkin. Munich 2001, ISBN 3-7774-9040-7 , p. 166, note: 710.
  46. ↑ NN Novouspenski: The Russian realism in the second half of the 19th century. In exh. Cat .: Russian Realism 1850–1900. State Art Gallery Baden-Baden, 1973, p. 12.
  47. ^ Fritz Stöckli: Marianne Werefkin. In: exhib. Cat .: Marianne von Werefkin 1860–1938, Ottilie W. Roederstein 1859–1937, Hans Brühlmann 1878–1911. Kunsthaus Zurich , 1938, p.
  48. ↑ Bernd Fäthke: Marianne Werefkin. Munich 2001, ISBN 3-7774-9040-7 , p. 34, fig. 45.
  49. ↑ Jelena Hahl-Fontaine: Jawlensky and Russia. In exh. Cat .: Alexej von Jawlensky, The watercolors found again, The eye is the judge, Watercolors - paintings - drawings. Museum Folkwang, Essen 1998, p. 37.
  50. ↑ Alexej Jawlensky: Memoirs. In: Clemens Weiler (ed.): Alexej Jawlensky, Heads - Faces - Meditations. Hanau 1970, p. 107.
  51. ↑ Emilijan Cevc: Slovenian Impressionists and their precursors. In exh. Cat .: Slovenian impressionists and their predecessors from the National Gallery in Ljubljana. Oberes Belvedere, Vienna 1979, p. 38.
  52. ↑ Alexej Jawlensky: Memoirs. In: Clemens Weiler (ed.): Alexej Jawlensky, Heads - Faces - Meditations. Hanau 1970, p. 110.
  53. ↑ Maria Jawlensky, Lucia Pieroni-Jawlensky, Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné. Vol. 1-4. Munich 1991–1998.
  54. ↑ Alexej Jawlensky: Memoirs. In: Clemens Weiler (ed.): Alexej Jawlensky, Heads - Faces - Meditations. Hanau 1970, p. 114.
  55. ↑ Bernd Fäthke: Marianne Werefkin. Munich 2001, ISBN 3-7774-9040-7 , p. 149, fig. 203.
  56. ↑ Alexej Jawlensky: Memoirs. In: Clemens Weiler (ed.): Alexej Jawlenky, Heads - Faces - Meditations. Hanau 1970, p. 115.
  57. ↑ Claire Goll: I don't forgive anyone. A literary chronique scandaleuse of our time. Munich 1976, p. 55.
  58. ↑ Brigitte Roßbeck: Marianne von Werefkin, The Russian woman from the circle of the Blue Rider. Munich 2010, p. 208.
  59. ↑ Bernd Fäthke: Alexej Jawlensky, drawing-graphic documents. Exhib. Cat .: Museum Wiesbaden 1983, Cat.No. 92
  60. ^ Translation from Italian. For other papers in connection with the trip to Germany, see: Bernd Fäthke: Alexej Jawlensky, Drawing - Graphics - Documents. Exhib. Cat .: Museum Wiesbaden 1983, p. 54, documents 89–95.
  61. ↑ For example, "writing utensils in bronze and precious stones, a table bell, two chandeliers" etc. were stolen.
  62. ^ Maria Jawlensky, Lucia Pieroni-Jawlenskym Angelica Jawlensky (ed.): Alexej von Jawlensky, Catalog Raisonné. Vol. 1. Munich 1991, p. 19. There the impression is given that Jawlensky, with Helene and Andreas Nesnakomoff, have dissolved the household in Munich without Werefkin.
  63. ^ Helga Lukowsky: Jawlenskys Abendsonne, The painter and the artist Lisa Kümmel. Königstein / Taunus 2000, p. 25.
  64. ^ Helga Lukowsky: Jawlenskys Abendsonne, The painter and the artist Lisa Kümmel. Königstein / Taunus 2000, p. 114.
  65. ^ Helga Lukowsky: Jawlenskys Abendsonne, The painter and the artist Lisa Kümmel. Königstein / Taunus 2000, p. 113.
  66. ^ Henriette Mentha: The correspondence with Alexej von Jawlensky (1864-1941). In: You dear Mr. Im Obersteg, are our Swiss for everything. Correspondence with Cuno Amiet, Robert Genin, Alexej von Jawlensky, Alexander and Clotilde Sacharoff, Marc Chagall, Ernst Ludwig Kirchner and Wassily Kandinsky in the Im Obersteg Collection. Basel 2011, p. 80.
  67. ^ Helga Lukowsky: Jawlenskys Abendsonne, The painter and the artist Lisa Kümmel. Königstein / Taunus 2000, p. 113.
  68. ^ Helga Lukowsky: Jawlenskys Abendsonne, The painter and the artist Lisa Kümmel. Königstein / Taunus 2000, p. 115 f.
  69. ^ Helga Lukowsky: Jawlenskys Abendsonne, The painter and the artist Lisa Kümmel. Königstein / Taunus 2000, p. 138.
  70. ^ Helga Lukowsky: Jawlenskys Abendsonne, The painter and the artist Lisa Kümmel. Königstein / Taunus 2000, p. 139.
  71. ^ Gerhard Söhn (ed.): Andreas Jawlensky, Im Schatten des famous Father. Düsseldorf 1986, p. 39.
  72. ^ Andreas Jawlensky: Letter of March 26, 1965 to Karl Im Obersteg in Geneva. Archive collection Im Obersteg.
  73. ↑ René Drommert: A gravestone is wrong. Alexej von Jawlensky and the difficulties with Russian names and dates. In: Die Zeit , October 27, 1967.
  74. ↑ Ulrich Clewing: Fatal closeness. Zeit Online, October 27, 2019.
personal data
SURNAME Nesnakomoff, Helene
BRIEF DESCRIPTION Model, lover and wife of Jawlensky
DATE OF BIRTH March 18, 1885
PLACE OF BIRTH Pratschy
DATE OF DEATH March 17, 1965
Place of death Locarno