Into the night

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Into the night (Marianne von Werefkin)
Into the night
Marianne von Werefkin , 1910
Tempera on cardboard
75 × 101 cm
Municipal gallery in the Lenbachhaus , Munich

Into the night is the title of a painting that the Russian artist Marianne von Werefkin painted in Lithuania in Kownow before Easter in 1910 at the latest . The work belongs to the inventory of the Lenbachhaus in Munich . It was bought by the "Friends of the Lenbachhaus" on the occasion of its 25th anniversary and given to the museum on Königsplatz. The picture had "its first major public appearance" almost 40 years ago - on September 28, 1980 in the Wiesbaden Museum .

Technology, dimensions and labels

Marianne von Werefkin : Summer stage , 1910

It is a tempera painting on cardboard , 75 × 101 cm. At the lower right is Werefkin's ligated monogram “MW”. There are labels etc. on the back . a. with the inscription: “ Moderne Galerie Thannhauser , Munich, Theatinerstr. 7 “and New Artists' Association Munich (NKVM). A sketch in the Fondazione Marianne Werefkin (FMW) in Ascona shows the preliminary stage for the painting. The counterpart to “Into the Night” is a painting with the title “Summer Stage” . It belongs to the holdings of the Fondazione Marianne Werefkin.

iconography

A nocturnal scene in a city is shown. On the right, a narrow street leads in perspective to a lighted house with a gable roof. A lamp illuminates the middle distance and the left house facade up to the second floor. A white-haired woman in a white apron emerges through an arched door. You and two other people on the left and right side of the street have opened their front doors and are looking towards the left side of the picture, where a theater stage has been set up. An actor and an actress act on it. He wears a red, ermine- trimmed cloak and a golden crown on his head, appears in the pose of a ruler and points downwards with a scepter in his right hand. Dressed in black with red headdresses in her hair, she evades the king - whom she turns her back on - into the corner of the makeshift stage. Two seats in the front row are not yet occupied by spectators. The play is obviously about a drama , the title and text of which could possibly be found in one of the many booklets with Werefkin's literary excerpts that her nephew, Alexander von Werefkin (1904–1982), left as a foundation for the Marianne Werefkin Foundation.

Dating

The relationship between Werefkin and Alexej Jawlensky also turned into a drama in the course of 1909 . It culminated in Werefkin's decision to travel to Kownow alone without Jawlensky after the opening of the first exhibition of the Neue Künstlervereinigung München in December 1909. There she spent Christmas with her brother Peter (1861-1946) in the Governor's Palace. Due to illness, her stay lasted until Easter 1910. After Munich she wrote informative letters to Jawlensky, illustrated with colorful sketches. When she returned to Munich, she brought several pictures from Lithuania showing different views from Kaunas. The painting “Into the Night” is one of them. It was shown at the 2nd exhibition of the Neue Künstlervereinigung München in September and shown in the catalog.

literature

  • Clemens Weiler : Marianne von Werefkin. In exh. Cat .: Marianne Werefkin 1860-1938. Municipal Museum Wiesbaden 1958
  • Bernd Fäthke: Marianne Werefkin and her influence on the Blue Rider. In: exhib. Cat .: Marianne Werefkin, paintings and sketches. Museum Wiesbaden 1980, cat. No. 35, p. 82 with b / w illus.
  • Bernd Fäthke: Marianne Werefkin. Munich 2001, ISBN 3-7774-9040-7 , color. Fig. No. 170, p. 147, 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

  1. ↑ Evelyn Vogel: New Acquisition, Big Appearance on Königsplatz. The Lenbachhaus Friends' Association has been committed to the municipal museum for 25 years. He recently bought Marianne von Werefkin's painting to expand the collection. Süddeutsche.de Kultur, January 29, 2019.
  2. ↑ Bernd Fäthke: Marianne Werefkin and her influence on the Blue Rider. In: exhib. Cat .: Marianne Werefkin, paintings and sketches. Museum Wiesbaden 1980, cat. No. 35, p. 82 with b / w illus.
  3. ↑ Bruno Russ: At a turning point in modern art, Marianne Werefkin - their effect and their images. Wiesbaden Courier 4th / 5th October 1980, p. 14.
  4. ↑ Rudolf Krämer-Badoni: She cleaned the color from the wrong light, As stormy as in the household with Jawlensky: Marianne Werefkins pictures and sketches in Wiesbaden. DIE WELT, Wednesday October 8, 1980, p. 23.
  5. ↑ See sketchbook FMW a 13
  6. ↑ Bernd Fäthke: Marianne Werefkin and her influence on the Blue Rider. In: exhib. Cat .: Marianne Werefkin, paintings and sketches. Museum Wiesbaden 1980, cat. No. 36, p. 83 with b / w illus.
  7. ↑ Inventory number: FMW 0-0-22
  8. ↑ Laima Laučkaitė-Surgailienė: Marianne Werefkin's unknown legacy of letters. In exh. Cat .: Series of publications by August Macke Association House: Marianne Werefkin, The color bites my heart. Bonn 1999, pp. 58, 62-64, 108-113.
  9. ↑ Rosel Gollek: The Blue Rider in the Lenbachhaus Munich, catalog the collection at the Municipal Gallery. Munich 1974, cat. No. 94, p. 268, b / w-fig. P. 271