Shingle factory

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Marianne von Werefkin: Shingle factory

Schindelfabrik is the title of a landscape painting with accessories , for which the Russian painter Marianne von Werefkin made sketches in Oberau an der Loisach . The resulting picture was acquired in 1958 by the then museum director Clemens Weiler of the Fondazione Marianne Werefkin for the Wiesbaden Museum . It bears the inventory number M 774.

Technology, dimensions and title

The painting of the picture is a "mixed technique on cardboard". The color consists essentially of tempera . The dimensions of the portrait format are 105 × 80 cm. There are two pencil drawings and a gouache for the painting . The latter is labeled Schindelfabrik 1910 . The place where the sketches were made is not recorded.

Image description

“The shingle factory is a motif for which Werefkin and Alexej Jawlensky worked together. The baroness treated it as a painting only once. For Jawlensky, on the other hand, it became a subject that he took up again and again and reformulated. ”Werefkin turned it into a landscape image that she brought into the upright format , which was iconologically meaningful. The picture is full of contradictions. The mountains with bright peaks arouse longing or wanderlust and attract the viewer. The dark mountain on the left seems like a heavy burden that threatens to crush the two buildings below it. It is pierced by the vertical of a red-orange chimney moving up to the sky. This seems to be closed with a black lid. No smoke comes out of the chimney that could indicate life in the factory buildings.

All openings of the houses are closed or barricaded. Even the large pipes in the foreground, which have their function in providing a passage, are positioned across. They hold the viewer's gaze into the picture of the Werefkin. "Wherever the eye tries to penetrate the depth of the picture, it is slowed down." One way could lead the viewer into the building on the right. But a worker comes towards him in order to close himself off to him at the same time through posture and gesture. It is difficult to interpret that Werefkin lets the worker stick his tongue towards the viewer. Behind him, the rectangular entrance to the factory building is barricaded. A huge pile of red-yellow shingles is glowing on the right in the picture and, reminiscent of Van Gogh's painting technique, promises vitality. "The yellow of the windowless building on the left, on the other hand, appears cold and lifeless."

Oberstdorf or Oberau?

For many years it was assumed that the shingle factory represented a situation in Oberstdorf , where Werefkin and Jawlensky met with the Kardowsky family . Apart from the fact that the two artist couples did not visit Oberstdorf until 1912, it has been overlooked that Jawlensky also painted a factory with a towering red chimney twice in 1910, very similar to Werefkin's shingle factory. One is titled Oberau Fabrik , both in Weiler's catalog raisonné and in the later one in the Jawlensky archive. It is “the factory of Andreas Kienzerle from Oberau, founded in 1889”, who died in the First World War. - “The mountains in the background belong to the Ammergau mountains . […] The 'factory', as it was only called in Oberau , has since been largely demolished after several fires in 1999. “When Werefkin and Jawlensky and son Andreas , Wassily Kandinsky and Gabriele Münter “ from mid-August to September 30th “Stayed in Murnau in 1908 , they took excursions by carriage to villages in the area or by train to Oberau, among other places. Even then, Wassily Kandinsky was fascinated by the Kienzerle factory. In his painting autumn trial in Oberau of 1908 he shows in distant view of the long, red chimney of the factory in the left third of the image. A long, blue plume of smoke leaves the chimney, indicating that the industrial plant was in operation when Kandinsky visited Oberau.

literature

  • Clemens Weiler : Marianne von Werefkin. In: Exhibition catalog Marianne Werefkin 1860–1938. Municipal Museum Wiesbaden 1958.
  • Bernd Fäthke: Marianne Werefkin, paintings and sketches. Exhib. Cat. Museum Wiesbaden 1980. *
  • Bernd Fäthke: Marianne Werefkin. Munich 2001, ISBN 978-3-7774-1107-1 .
  • Brigitte Roßbeck : Marianne von Werefkin, The Russian from the circle of the Blue Rider. Munich 2010, ISBN 978-3-88680-913-4 .
  • 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: Clemens Weiler's Legacy, in: Tanja Malycheva, Isabel Wünsche (Ed.): Marianne Werefkin and the Women Artists in her Circle. Leiden / Boston 2016, p. 8.
  2. ^ Ulrich Schmidt: Werefkin Marianne. In: Städt. Museum Wiesbaden, picture gallery. Catalog, Wiesbaden 1967, n.p.?.
  3. ^ Ulrich Schmidt: Werefkin, Marianne. In: Städt. Museum Wiesbaden, Gemäldegalerie, catalog. Wiesbaden 1967, no p.
  4. ↑ Bernd Fäthke: Catalog index. In: exhib. Cat .: Marianne Werefkin, paintings and sketches. Museum Wiesbaden 1980, p. 103.
  5. ↑ Sketchbook b No. 29, Fondazione Marianne Werefkin, Ascona
  6. ^ Sketchbook a No. 21, Fondazione Marianne Werefkin, Ascona
  7. ↑ This picture description was based on the explanations in Bernd Fäthke: Marianne Werefkin. Munich 2001, ISBN 978-3-7774-1107-1 . The quotations marked as literal are taken from p. 144 of this work.
  8. ↑ Clemens Weiler: Marianne von Werefkin. In: exhib. Cat .: Marianne Werefkin 1860–1938. Municipal Museum Wiesbaden 1958, undated; Volker Rattemeyer (Ed.): The Spiritual in Art, From the Blue Rider to Abstract Expressionism. Museum Wiesbaden 2010, p. 88; Zieglgänsberger (ed.), Exh. Cat .: Horizont Jawlensky 1900–1914, Alexej von Jawlensky as reflected in his encounters. Museum Wiesbaden 2014, cat.no.173, ill. P. 269.
  9. ↑ Clemens Weiler: Alexej Jawlensky. Cologne 1959, p. 82; Maria Jawlensky, Lucia Pieroni-Jawlensky, Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné of the oil-paintings, Vol. 1, Munich 1991, p. 18; Volker Rattemeyer (Ed.): Exh. Cat .: Jawlensky, my dear Galka! Museum Wiesbaden, Wiesbaden 2004, p. 273; Angelica Jawlensky Bianconi: Alexej von Jawlensky, Moments of a lived life, 1864 to 1914. In: Exh. Cat .: Horizont Jawlensky 1900–1914, Alexej von Jawlensky as reflected in his encounters. Museum Wiesbaden 2014, p. 291.
  10. ↑ Maria Jawlensky, Lucia Pieroni-Jawlensky, Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné of the oil-paintings, Vol. 1. Munich 1991, No. 342, p. 284, fig. 270 u. No. 343, p. 284, illus. P. 271.
  11. ↑ Clemens Weiler: Alexej Jawlensky, Heads-Face-Meditations. Hanau 1970, p. 154, No. 1136.
  12. ↑ Maria Jawlensky, Lucia Pieroni-Jawlensky, Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné of the oil-paintings, Vol. 1. Munich 1991, No. 343, p. 284, illus. P. 271.
  13. ↑ Heinz Schelle: Das goldene Au, an Oberammergau chronicle with pictures. Oberau 1982/1991, picture letters p. 83 and memorial plaque p. 111.
  14. ^ Letter from Prof. Dr. Heinz Schelle of July 5, 2001 to Dr. Bernd Fäthke.
  15. ↑ Brigitte Salmen (ed.), Exhib. Cat .: 1908/2008, 100 years ago, Kandinsky, Münter, Jawlensky, Werefkin in Murnau. Murnau 2008
  16. ↑ Vivian Endicott Barnett: Biography. In: exhib. Cat .: The colorful life, Wassily Kandinsky in the Lenbachhaus. Munich 1995, p. 191.
  17. ↑ Sandra Landau: "The images of rural life dance before your eyes ...", Marianne von Werefkin's Murnau sketches. In: exhib. Cat .: Marianne von Werefkin in Murnau, art and theory, role models and artist friends. Murnau 2002, p. 53 ff
  18. ↑ Joachim F. Giessler: On the trail of the "Blue Rider". Seehausen 1984; Giessler (), 8401 S. Joachim F. Giessler, Fritz W. Schmidt: Radwandern, In the footsteps of the "Blue Rider". Riedhausen undated
  19. ↑ Oberau got its rail connection in 1889. See: Heinz Schelle: Das goldene Au, an Oberauer Chronik with pictures. Oberau 1991, p. 31.
  20. ↑ Hans Konrad Roethel, Jean K. Benjamin: Kandinsky, Catalog raisonné of oil paintings 1900–1915, Vol. I. London 1982, No. 248, p. 237.