Self-portrait in a sailor's blouse
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| Self-portrait in a sailor's blouse |
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| Marianne von Werefkin , 1893 |
| Oil on canvas |
| 69 × 51 cm |
| Fondazione Marianne Werefkin , Museo comunale d'arte, Ascona |
Self-portrait in a sailor's blouse is the title of a self-portrait that Marianne von Werefkin painted in Russia in 1893. The painting was made in 1948 by the Lenzburg doctor Dr. med. Hans Müller (1897–1989) from the nephew and main heir of Werefkin - Alexander von Werefkin (1904–1982) - acquired. Dr. Müller chose the picture as a donation for the Fondazione Marianne Werefkin in Ascona . It bears the inventory number FMW-0-0-1 there.
Technology, dimensions, lettering, state of preservation
It is an oil painting on canvas in portrait format 69 × 51 cm, which is dated in the lower left of the picture in 1893. The painting was cut out of the stretcher so that it could be brought rolled from Munich across the Swiss border to Ascona . Creases in the transverse direction are the result of being transported in a suitcase.
iconography
This “briskly painted painting” was seen as a “key picture” of Werefkin's pictorial self-characterization: “The 33-year-old woman looks out of the picture, an emancipated woman in a boyish sailor's blouse , her left hand on her hip, extremely self-assured and a little mocking a street boy. In her right hand she holds the brush as if they were her riding whip. "
The way of painting
Noticeably, Werefkin made the painting with two different painting styles . Essentially, she made use of naturalism (visual art) , which refers back to the time when she was called the "Russian Rembrandt". The head, neck and background are affected. A broad and lively brushwork that can be seen on the sleeve of her left arm and the Werefkin's hands differs significantly from this painting style. This is a type of wet-on-wet technique . Occasionally, but not so emphasized, it can also be found on the face and in the blouse. The painting style that Werefkin practiced in this picture can be derived from that of her teacher Ilya Yefimowitsch Repin , who he still used in the period around 1896/97 to paint the portrait of Werefkin's friend and painter colleague Dmitri Nikolajewitsch Kardowski .
literature
- Clemens Weiler : Marianne von Werefkin. Marianne Werefkin 1860–1938. Municipal Museum Wiesbaden 1958, oS
- Bernd Fäthke: Marianne Werefkin. Munich 2001, p. 36 f., Color illus. P. 38.
- Brigitte Salmen (ed.): Marianne von Werefkin in Murnau, art and theory, role models and artist friends. Murnau 2002, color illus. P. 66.
- 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
- ↑ Bernd Fäthke: Marianne Werefkin. Munich 2001, p. 8.
- ↑ See: Werefkin as a “noble street boy. Schelm der Russenstadt [...] “from Else Lasker-Schüler : Marianne von Werefkin. In: The Complete Poems. Munich 1966, p. 223 f.
- ↑ Christa von Helmolt: Unhappy Werefkin, exhibition in the Sinclair House . In: Frankfurter Allgemeine Zeitung. January 26, 1990, p. 7.