Jawlensky in the Chambre séparée

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Jawlensky in the Chambre séparée (Marianne von Werefkin)
Jawlensky in the Chambre séparée
Marianne von Werefkin , around 1909
Gouache on paper
28.5 x 26.5 cm

“Jawlensky im Chambre séparée ” is the title of a picture that the Russian artist Marianne von Werefkin painted around 1909. The work is part of a German private collection .

Technology and dimensions,

The picture is a gouache on paper , 28.5 × 26.5 cm. It has no signature or date.

Lulu

In 1919, Werefkin told August Schädl, a friend in Munich and the former teacher of Andreas Jawlensky from Ascona, her life story: “I met Jawlensky 27 years ago in my father's house. [...] I loved his art and wanted to help him. I liked him, I knew he was reckless and a woman runner was. "Still, decided four years older, and in painting far more advanced Baroness , the young, penniless but talented lieutenant to form in art and teach.

In Munich, colleagues and friends came to terms with Jawlensky's affairs in an impudent way and were not particularly offended by his disposition. Like Werefkin, they called Jawlensky ambivalently Lulu because of his many amours and saw in him the male counterpart to the woman from Frank Wedekind's drama, who lures men with sensuality in order to plunge them coldly into ruin.

Jawlensky made no secret of how much he was fond of femininity when talking to friends and acquaintances. His friend and patron, the sculptor Philipp Harth , explained accordingly in the last years of his life: "Jawlensky was always in love ministry , like a troubadour he portrayed his feelings of love, his homage to Aphrodite in captivating colors ."

iconography

Werefkin had tolerated Jawlensky's love affairs since the beginning of their platonic friendship . In her painted diaries she described an incident of how Jawlensky lost herself to a lady in a tails in a séparée room. He tore off her cleavage and exposed her breasts . An overturned vase of flowers on the table in the narrow establishment bears witness to the attack of his sudden love attack . At the same time, an actor appears on a stage in the background, holding up a trophy in a victory pose. The illustration explains Jawlensky's nickname Lulu. This scene is one of those witty humorous depictions of the Werefkin with which Jawlensky, like Alexander von Salzmann , caricatured on various occasions .

literature

  • Clemens Weiler : Marianne von Werefkin. In: Marianne Werefkin 1860–1938. Catalog. Municipal Museum Wiesbaden, 1958, no p.
  • Bernd Fäthke: Marianne von Werefkin, Of colors, shapes and lines. In: Marianne von Werefkin in Murnau, art and theory, role models and artist friends. Catalog. Murnau 2002, ISBN 3-932276-14-0 , p. 28, color illus. 91.
  • Bernd Fäthke: Jawlensky and his companions in a new light. Hirmer-Verlag, Munich 2004, ISBN 3-7774-2455-2 , p. 120, color illus. 141.
  • Bernd Fäthke : Marianne Werefkin: Clemens Weiler's Legacy. In: Tanja Malycheva, Isabel Wünsche (Ed.): Marianne Werefkin and the Women Artists in her Circle. Leiden / Boston 2016, ISBN 978-90-04-32897-6 , pp. 8-19. (English), pp. 8-19, here pp. 14-19; JSTOR 10.1163 / j.ctt1w8h0q1.7

Individual evidence

  1. ^ Marianne Werefkin: Letter to Herr Schädl. 1919, p. 2 f. At that time, Schädl did Werefkin's business with the “Bank for Trade and Industry” on Lenbachplatz in Munich, where she still had a safe. Archive Fondazione Marianne Werefkin , Ascona.
  2. ^ Marianne Werefkin: Lettres à un Inconnu. Written in Munich and on trips at home and abroad 1902–1906, (909 pages handwritten, mainly in French, passages also in German and Russian), the original in the possession of the Fondazione Marianne Werefkin in the Museo comunale d'arte moderna, Ascona , Volume I-III. In the “Lettres à un Inconnu” Lulu appears in abbreviated form “L.” For the history and content, see: Bernd Fäthke: Jawlensky and his companions in a new light. Hirmer-Verlag, Munich 2004, ISBN 3-7774-2455-2 , p. 53 ff.
  3. ↑ Alexej Jawlensky: Letter to Mela Escherich. 4th August 1930, Wiesbaden State Library Inv. No. Hs. 315 (4)
  4. ↑ Bernd Fäthke: Alexej Jawlensky, heads etched and painted, The Wiesbaden years. Galerie Draheim, Wiesbaden 2012, ISBN 978-3-00-037815-7 , p. 62.