Variation: around 1918 (tenderness)

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Variation: around 1918 (tenderness)
Alexej Jawlensky , 1918
Oil painting
35.5 × 27.2 cm
Wiesbaden Museum, Wiesbaden

Link to the picture
(please note copyrights )

Variation: around 1918 (tenderness) is the title of a painting by the Russian painter Alexej Jawlensky . In 1964 it came as a gift from Helene von Jawlensky on the occasion of Alexej Jawlensky's 100th birthday. in the holdings of the Wiesbaden Museum It bears the inventory number M 820.

Technology and image carriers

The picture “Variation: um 1918 (Tenderness)” is an oil painting in portrait format 35.5 × 27.2 cm on linen-structured painting paper, laid on cardboard and on hardboard. It is monogrammed 'AJ' and not dated in the lower left of the picture. The original back is not visible. The picture is recorded in the “Catalog of Paintings” from 1959 by Clemens Weiler and the “Workshop Directory” from 1970 by Weiler, in the “Catalog Raisonné” from 1991 of the Jawlensky Archive, and in 1997 in the Jawlensky inventory catalog of the Museum Wiesbaden.

description

Variation: around 1918 (tenderness) takes up a landscape theme that Jawlensky used frequently in those years. In a letter to his muse Emmy Scheyer , Jawlensky sketched the motif with two trees on the left edge of the picture. At the turn of the year 1918/1919 Jawlensky had begun to use a new composition scheme. Under the little drawing it says: “New series is composed like this”. In another passage of the same letter it says: “Since your departure I have been working on a new pallet , which is very dear to me. With that I started a new series of variations and praise God the beginning was good. ”(Letter from 1918/1919, in: Catalogué Raisonné, vol. 2, p. 21)

In the variations, two pairs of opposites, a large and a slender, steep form are set in relation to a full and a more delicate spherical form. The steep form stands for the male active principle, the full round one for the female receiving.

literature

  • Clemens Weiler : Alexej Jawlensky. Cologne 1959
  • Maria Jawlensky, Lucia Pieroni-Jawlensky, Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné of the oil-paintings. Vol. 1, Munich 1991.
  • Ingrid Koszinowski: Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum. Wiesbaden 1997.
  • Bernd Fäthke : Jawlensky and his companions in a new light. Munich 2004

Individual evidence

  1. ↑ a b c Ingrid Koszinowski: Alexej von Jawlensky, paintings and graphic works from the collection of the Wiesbaden Museum. Wiesbaden 1997, p. 34 f.
  2. ↑ Clemens Weiler: Alexej Jawlensky. Cologne 1959, p. 27 No. 571.
  3. ↑ Clemens Weiler, Alexej Jawlensky, Heads-Face-Meditations, Hanau 1970, p. 155.
  4. ↑ Maria Jawlensky, Lucia Pieroni-Jawlensky, Angelica Jawlensky (eds.), Alexej von Jawlensky, Catalog Raisonné of the oil-paintings, Vol. 1, Munich 1991, p. 274 No. 1027, p. 277 with color illus.
  5. ^ Maria Jawlensky, Lucia Pieroni-Jawlensky and Angelica Jawlensky (eds.): Alexej von Jawlensky, Catalog Raisonné Volume Four, The Watercolors and Drawings 1890-1938. Vol. 4, Munich 1998, p. 184 No. 411 with illus.
  6. ↑ Clemens Weiler: Alexej Jawlensky. Cologne 1959, p. 90 f.