Sacharoff (Werefkin)

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Sacharoff (The Dancer Sacharoff) (Marianne von Werefkin)
Sacharoff (The Dancer Sacharoff)
Marianne von Werefkin , 1909
Tempera on cardboard
73.5 × 55 cm
Fondazione Marianne Werefkin, Museo comunale d'arte, Ascona

Sacharoff is the title of a painting that the Russian artist Marianne von Werefkin painted in Munich in 1909. The work belongs to the holdings of the Fondazione Marianne Werefkin (FMW) in Ascona . There it has the inventory number FMW-0-0-15. The corresponding sketch , a gouache with the inventory number FMW-45-16-644-a16 / 13, is also in the FMW collection.

Technology and dimensions

It is a tempera painting on cardboard , 73.5 × 55 cm.

iconography

Depicted is the dancer Alexander Sacharoff . A deep friendship connected the dancer with Werefkin and Alexej Jawlensky . Sacharoff originally studied painting at the Académie Julian in Paris . In 1905, at the age of eighteen, he suddenly decided to become a dancer. His plan to give up painting was felt to be "crazy" because it seemed inconceivable that an adult could learn an acrobatic art that would have to be practiced continuously from childhood. At that time, Sacharoff is said to have burned all of his drawings and paintings that he had made up to then. From this early phase, only those works have survived that came into the possession of the Werefkin.

Renewal of the art of dance through sequences of images

When Sacharoff came to Munich, he started his career there by, in an unusual way, discussing and practicing his roles with painters, namely Werefkin and Jawlensky.

The former painter wanted to renew the art of dance, which had previously been designed as pure sequences of movements, as sequences of images. In these, his posture in various vertical, horizontal and inclined positions, along with an abundance of gestures by the arms, hands and legs, played just as crucial a role as the color design of his costumes, which had to be harmonized with the stage decoration. Bringing different genres of art into efficient interaction was actually not that new. One could fall back on the experiences of the theater experiments of Abramzewo .

Stylizations and influences

Alexej Jawlensky: Lady with a Fan , 1909

The Sakharoff portrait of the Werefkin reveals Japanese influences . When it came into being, Sacharoff was in Giselastrasse almost every day to practice his roles. He gratefully accepted Werefkins and Jawlensky's help and willingly served them as a model in various poses and costumes , for example to Jawlensky's Lady with a Fan . Werefkin used Sacharoff's portrait to be more stylized than Jawlensky. She simplified the dancer's face to a mask, which requires a thorough knowledge of Japanese woodblock prints . The fact that Werefkin painted the picture tone-on-tone , in blue, in the manner of Louis Anquetin , also refers to the French artists of the Parisian Petit Boulevard, e. B. van Gogh , Bernard , Toulouse-Lautrec et al. a., which Werefkin valued very highly. She brought her knowledge of their art to her friends in Munich.

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, p. 14 ff
  • 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. ↑ Bernd Fäthke: Marianne Werefkin. Munich 2001, Fig. No. 150, p. 135, ISBN 3-7774-9040-7
  2. ^ Hans Brandenburg: The modern dance. Munich 1921, p. 150
  3. ↑ Hans Konrad Röthel. Alexander Sacharoff. In: exhib. Cat .: Städtische Galerie im Lenbachhaus, Munich 1964, no p.
  4. ↑ Bernd Fäthke: Marianne Werefkin. Munich 2001, p. 64 f, fig. 55–56, ISBN 3-7774-9040-7
  5. ↑ Alexej Jawlensky: Memorabilia In: Clemens Weiler (ed.), Alexej Jawlensky, Heads-Face-Meditations , Hanau 1970, p. 110. Even about ten years later, in Switzerland, Sacharoff still secured the support of Werefkin and Jawlensky staging his performances, cf. Theo Kneubühler: The artists and writers and Ticino (from 1900 to the present). In exh. Cat .: Monte Verita, Mountain of Truth, Local Anthropology as a contribution to the rediscovery of a modern sacred topography. Ascona 1978, p. 157
  6. ^ Hans Brandenburg: The modern dance. Munich 1921, p. 145 ff.
  7. ↑ Eleonora Paston: The artist circle of Abramcevo in the midst of the European artist colonies., Anzeiger des Germanisches Nationalmuseums, Nürnberg 1999, p. 80
  8. ^ Elisabeth Erdmann-Macke. Memories of August Macke. , Frankfurt 1987, p. 240 f.
  9. ↑ Bernd Fäthke: Von Werefkins and Jawlensky's weakness for Japanese art. In: exhib. Cat .: "... the tender, spirited fantasies ...", the painters of the "Blue Rider" and Japan. Murnau Castle Museum 2011, p. 116 f, Fig. 26–27
  10. ↑ Ildikó small Bednay: Jawlensky Japanese woodcut collection. In exh. Cat .: Jawlensky's Japanese woodcut collection. A fairytale discovery. Edition of the Administration of State Palaces and Gardens, Bad Homburg vdH, No. 2, 1992, p. 89
  11. ↑ Ingrid Pfeiffer / Max Hollein (ed.): Esprit, Mont Martre, Die Bohème in Paris around 1900. Schirn Kunsthalle Frankfurt 2014