Summer day, 1907

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Alexej Jawlensky: Summer Day , Wasserburg am Inn, 1907

Summer's Day is the title of a painting by the German-Russian painter Alexej Jawlensky , which he painted in 1907. In 1962 it was acquired by the then museum director Clemens Weiler for the Wiesbaden Museum . It bears the inventory number M 802.

Technology and image carriers

The landscape painting "Summer's Day" is an oil painting on cardboard in a wide format, 45 × 53.7 cm. It is signed lower right in the picture 'A. Jawlensky ”and dated“ 07 ”. On the back various inscriptions, u. a. with blue pencil "summer day". The picture is listed in the 1991 “Catalog Raisonné” of the Jawlensky Archive, 1997 in the Jawlensky inventory catalog of the Wiesbaden Museum, and in 2014 in the 2014 exhibition catalog “Horizont Jawlensky”.

Identification of the painting

It was the art historian Gottlieb Leinz who discovered in 1979 that Jawlensky found the motif for his painting in 1907 near Wasserburg am Inn , in the Burgstall district . In the picture you can see the hill of the Dreikreuzberg at the top left . “On the hilltop of the Dreikreuzberg immediately opposite, a mighty, spherical oak rises; to the right are a few houses on the ridge. […] However, the artist did not see the rising trees and meadows from the southeast, as in the comparison photo, but from the west. Here the high garden allows such a good overview. Jawlensky left out the church of St. Achatz on the right . [...] The virtuoso application of the color patches corresponds to an increase in space and abundance of light. "

Jawlensly expresses his feelings with colors and shapes

“Jawlensky says in his memoirs that he expresses feelings with colors and shapes. If you take him at his word and then examine the picture, you first discover that a multitude of horizontals determine the formal structure of the picture. The ground formations in the foreground are horizontal and are repeated by the flat roofs. Above that, slight bumps fit into this order. Even the gables of the houses on the hill are in harmony with the gently rolling horizon. Only the trees with their peaks interrupt the harmonious line and create a certain tension. From the horizontal elongated clouds, however, they are integrated into and subordinated to the picture structure through the artist's will. The two poplars on the left in the picture as well as the three young fruit trees in the foreground are clear vertical elements, but too thin to be able to create a countermovement to the resting, lying lines. There is thus something rigid and cold about the formal composition. If Jawlensky had included the Achatius Chapel with its slender Gothic tower in his picture, it would have been significantly changed. The vertical of the tower with its pointed roof shape would have given the picture with its melancholy forms a cheerful, sky-striving, warm component. And Jawlensky clearly did not intend this. Jawlensky said of the color that this also played a very important role if he wanted to express his feelings. In our picture he mainly uses the green. Like the horizontal, this green symbolizes calm and immobility. Jawlensky complements the green with many shades of blue and thereby gives it a sound that is serious, thoughtful, almost tragic. He also offset the red of the roofs and the blossoming tree on the right in the picture with blue, which noticeably cools this lively and happy color and turns it into violet tones. Finally, the unrest-inducing color yellow, which can be equated in its power and meaning with the vertical, only appears in vanishingly small quantities. The colors blue and violet dominate the picture, they symbolize the sadness that Jawlensky felt on a summer day in 1907 when he painted our picture. "

"Retained" in Sweden during World War I

According to Catalog Raisonné, the painting “Summer's Day” was first exhibited in 1914 in the Swedish city of Malmö . It was the Baltic Exhibition , which took place from May 15 to October 4, 1914. It showed “innovations from trade and industry, gave insights into areas as diverse as garden culture, schools and funerals.” It was followed by an art exhibition organized by the Swedish painter Oscar Björck . Björck only invited artists from the countries bordering the Baltic Sea - "Sweden, Denmark, Germany, Russia" to participate. From the Munich artists he had invited the Russians Wassily Kandinsky , Robert Genin , Jawlensky and his son Andreas and Marianne von Werefkin to participate. He offered them the "opportunity to introduce themselves in a 'chain of development' in the exhibition." It can be assumed that the painting "Summer's Day" , which at that time already had the current title, was one of several loans from Jawlensky's own possession which he presented himself in Malmö. “After the outbreak of the First World War , loans from Russian artists were retained in Sweden for security reasons. Some pictures were still undeliverable even after the armistice. So it came about that some of the exhibits were transferred to the holdings of the Malmö Art Museum. ”Jawlensky, who had emigrated to Switzerland and was neither a Soviet, Swiss nor German citizen at the time, had property again at least after the end of the First World War his "summer day" . And if you leaf through the Catalog Raisonné and research more closely, you will find at least five other paintings there that were in Malmö - but Jawlensky had them again in the early 1920s. These are "Girl with a Gray Apron" , around 1909, "Violet Turban" , 1909, "Princess Turandot" , 1912, "Girl with a Doll" , around 1912 and "Hill" , 1912, which form part of Jawlensky's "chain of development" Years 1907-1912 belonged. Some of them found "1920/21", inclusion in the so-called. "Traveling exhibition".

literature

  • Gottlieb Leinz: Jawlensky's stay in Wasserburg 1906/07. In: exhib. Cat .: Alexej Jawlensky, From image to original, gallery in the Ganserhaus. Wasserburg am Inn 1979, p. 31 ff
  • Bernd Fäthke : Alexej Jawlensky, drawing-graphic documents. Exhib. Cat .: Museum Wiesbaden 1983, p. 34 f
  • Bernd Fäthke, Jawlensky's “Summer Day”, The special picture for the 45th year of death of Alexej Jawlensky, MS Museum Wiesbaden 1986, pp. 1–5
  • Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.), Alexej von Jawlensky: Catalog Raisonné of the oil-paintings. Vol. 1, Munich 1991, No. 220, p. 187
  • Ingrid Koszinowski. Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum Wiesbaden 1997, No. 7, p. 20

Individual evidence

  1. ↑ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.). Alexej von Jawlensky: Catalog Raisonné of the oil-paintings. Vol. 1, Munich 1991, No. 165, p. 143
  2. ↑ Ingrid Koszinowski. Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum Wiesbaden 1997, No. 7, p. 20
  3. ↑ Roman Zieglgänsberger (ed.): Exh. Cat .: Horizont Jawlensky 1900–1914, Alexej von Jawlensky as reflected in his encounters. Museum Wiesbaden 2014, cat.no.44, p. 299
  4. ↑ Gottlieb Leinz: Jawlensky's stay in Wasserburg 1906/07 in exh. Cat .: Alexej Jawlensky, From image to original. Galerie im Ganserhaus, Wasserburg am Inn 1979, pp. 31–34, comparison photo p. 35
  5. ↑ Bernd Fäthke. Jawlensky's "Summer Day", the special picture for the 45th year of death of Alexej Jawlensky. MS Museum Wiesbaden 1986, p. 4 f
  6. ^ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.), Alexej von Jawlensky: Catalog Raisonné of the oil-paintings. Vol. 1, Munich 1991, p. 187
  7. ↑ Brigitte Roßbeck. Marianne von Werefkin, The Russian woman from the circle of the Blauer Reiter Munich 2010, p. 165
  8. ↑ Brigitte Roßbeck. Marianne von Werefkin, The Russian woman from the circle of the Blauer Reiter Munich 2010, p. 165
  9. ↑ Brigitte Roßbeck. Marianne von Werefkin, The Russian woman from the circle of the Blauer Reiter Munich 2010, p. 165
  10. ↑ Ingrid Koszinowski. Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum Wiesbaden 1997, p. 20
  11. ↑ Brigitte Roßbeck: Marianne von Werefkin, Die Russin from the circle of the Blue Rider Munich 2010, p. 180 and note 94
  12. ^ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.), Alexej von Jawlensky: Catalog Raisonné of the oil-paintings. Vol. 1, Munich 1991, No. 238, p. 206
  13. ^ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.), Alexej von Jawlensky: Catalog Raisonné of the oil-paintings. Vol. 1, Munich 1991, No. 387, p. 315
  14. ^ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.), Alexej von Jawlensky: Catalog Raisonné of the oil-paintings. Vol. 1, Munich 1991, No. 466, p. 362
  15. ^ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.), Alexej von Jawlensky: Catalog Raisonné of the oil-paintings. Vol. 1, Munich 1991, No. 480, p. 368
  16. ^ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.), Alexej von Jawlensky: Catalog Raisonné of the oil-paintings. Vol. 1, Munich 1991, No. 480, p. 368
  17. ^ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.), Alexej von Jawlensky: Catalog Raisonné of the oil-paintings. Vol. 1, Munich 1991, p. 143