13
Alexej von Jawlensky, Meditation. Ein Brausen kam einher
Oil on paper, mounted to card. 19 x 12.4 cm. Framed under glass. Monogrammed ‚A.J.‘ in red lower left, dated ‘35’ in red lower right. Verso inscribed "A. Jawlensky/ VII 1935/ N. 66" in black India ink by Lisa Kümmel and "Ein Brausen kam daher" in blue ballpoint pen, probably by Clemens Weiler. Inscribed "A. Jawlensky/ Kleine Meditation Nr 66/VII 1935/ "Ein Brausen kam einher"/ 19,1 x 12,4 cm/ Öl auf Malpapier/ u.l.m.u.r.d." in black India ink on the frame card by Andreas Jawlensky. - In excellent condition with fresh colours.
M. Jawlensky/Pieroni-Jawlensky/A. Jawlensky Bianconi vol. III, no. 1720 with full-page colour ill. p. 167
We would like to thank Angelica Jawlensky Bianconi, Muralto, for the supplementary information.
Provenance
Estate of the artist; Andreas Jawlensky, Locarno; private property Baden-Württemberg (acquired from the previous owner in 1970); private collection, Baden-Württemberg
The painting “Meditation. Ein Brausen kam einher” is signed and dated to 1935 and belongs to the last important group of works by Jawlensky. His so-called “Meditationen” conclude a development within his oeuvre that began with the large, intensely colourful heads from the years before the First World War and then underwent a progressive chromatic and compositional reduction through the “Mystische Köpfe” and “Abstrakte Köpfe” from the twenties. With dark colours and a few black lines, he has reduced these faces to the absolutely essential. In the present work the nose is a wide diagonal line, the eyes and mouth are horizontal bars following a contrary course and the spaces between them are occupied by planes sparingly filled in with colour. The semi-abstract faces are disconnected from any sort of individuation: “My works from the last period have been in very small formats”, writes Jawlensky, “but the paintings are even deeper and more spiritual, spoken only through colour. Because I have sensed that, as a result of my illness, I will no longer be able to work in the future, I work like a man possessed on these little Meditations of mine” (cited in: Lebenserinnerungen, in: Alexej von Jawlensky. Reisen, Freunde, Wandlungen, ed. by Tayfun Belgin, exh. cat. Dortmund 1998, p. 119). These compositions, which were subject to only slight variations over the years, have often been associated with Russian Orthodox icons. What is certain is that they represent Jawlensky’s artistic search for an image of the divine and the quintessence of his oeuvre.
Öl auf Papier, auf Karton aufgezogen. 19 x 12,4 cm. Unter Glas gerahmt. Unten links rot monogrammiert 'A.J.', rechts rot datiert '35'. Rückseitig von Lisa Kümmel mit schwarzer Tusche bezeichnet "A. Jawlensky/ VII 1935/ N. 66" und wohl von Clemens Weiler mit blauem Kugelschreber bezeichnet "Ein Brausen kam daher". Auf der Rahmenpappe von Andreas Jawlensky mit schwarzer Tusche bezeichnet "A. Jawlensky/ Kleine Meditation Nr 66/VII 1935/ "Ein Brausen kam einher"/ 19,1 x 12,4 cm/ Öl auf Malpapier/ u.l.m.u.r.d." - In einwandfreier farbfrischer Erhaltung.
M. Jawlensky/Pieroni-Jawlensky/A. Jawlensky Bianconi Bd. III, Nr. 1720 mit ganzseitiger Farbabb. S. 167
Wir danken Angelica Jawlensky Bianconi, Muralto, für freundliche ergänzende Informationen.
Provenienz
Nachlass des Künstlers; Andreas Jawlensky, Locarno; Privatbesitz Baden-Württemberg (1970 vom Vorbesitzer erworben); Privatsammlung Baden-Württemberg
Das signierte und 1935 datierte Gemälde „Meditation. Ein Brausen kam einher“ gehört zur letzten bedeutenden Werkgruppe Jawlenskys. Mit den so genannten „Meditationen“ schloss er eine Entwicklung seines Schaffens ab, die mit den großen farbintensiven Köpfen in den Jahren vor dem Ersten Weltkrieg begonnen hatte, und die über die „Mystischen“ und „Abstrakten Köpfe“ der zwanziger Jahre eine fortschreitende farbliche und kompositorische Reduktion erfuhr. Mit dunklen Farben und wenigen schwarzen Linien reduzierte er die Gesichter auf das Nötigste. Bei der vorliegenden Arbeit ist die Nase eine breite, diagonale Linie, die Augen und der Mund sind dazu gegenläufige waagerechte Balken und die Zwischenräume sind farblich sparsam ausgefüllte Flächen. Die abstrahierten Gesichter sind losgelöst von jeglicher Individualisierung: „Die letzte Periode meiner Arbeiten hat ganz kleine Formate“, schreibt Jawlensky, „aber die Bilder sind noch tiefer und geistiger, nur mit der Farbe gesprochen. Da ich gefühlt habe, dass ich in Zukunft infolge meiner Krankheit nicht mehr werde arbeiten können, arbeitete ich wie ein Besessener diese meine kleinen Meditationen.“ (zit. aus: Lebenserinnerungen, in: Alexej von Jawlensky. Reisen, Freunde, Wandlungen, hg. von Tayfun Belgin, Ausst. Kat. Dortmund 1998, S. 119.) Diese über Jahre nur wenig variierten Kompositionen werden oft mit den russisch-orthodoxen Ikonen in Verbindung gebracht. Sicher ist, dass sie Jawlenskys künstlerische Suche nach einem Bild des Göttlichen darstellen und die Quintessenz seines Schaffens sind.
Oil on paper, mounted to card. 19 x 12.4 cm. Framed under glass. Monogrammed ‚A.J.‘ in red lower left, dated ‘35’ in red lower right. Verso inscribed "A. Jawlensky/ VII 1935/ N. 66" in black India ink by Lisa Kümmel and "Ein Brausen kam daher" in blue ballpoint pen, probably by Clemens Weiler. Inscribed "A. Jawlensky/ Kleine Meditation Nr 66/VII 1935/ "Ein Brausen kam einher"/ 19,1 x 12,4 cm/ Öl auf Malpapier/ u.l.m.u.r.d." in black India ink on the frame card by Andreas Jawlensky. - In excellent condition with fresh colours.
M. Jawlensky/Pieroni-Jawlensky/A. Jawlensky Bianconi vol. III, no. 1720 with full-page colour ill. p. 167
We would like to thank Angelica Jawlensky Bianconi, Muralto, for the supplementary information.
Provenance
Estate of the artist; Andreas Jawlensky, Locarno; private property Baden-Württemberg (acquired from the previous owner in 1970); private collection, Baden-Württemberg
The painting “Meditation. Ein Brausen kam einher” is signed and dated to 1935 and belongs to the last important group of works by Jawlensky. His so-called “Meditationen” conclude a development within his oeuvre that began with the large, intensely colourful heads from the years before the First World War and then underwent a progressive chromatic and compositional reduction through the “Mystische Köpfe” and “Abstrakte Köpfe” from the twenties. With dark colours and a few black lines, he has reduced these faces to the absolutely essential. In the present work the nose is a wide diagonal line, the eyes and mouth are horizontal bars following a contrary course and the spaces between them are occupied by planes sparingly filled in with colour. The semi-abstract faces are disconnected from any sort of individuation: “My works from the last period have been in very small formats”, writes Jawlensky, “but the paintings are even deeper and more spiritual, spoken only through colour. Because I have sensed that, as a result of my illness, I will no longer be able to work in the future, I work like a man possessed on these little Meditations of mine” (cited in: Lebenserinnerungen, in: Alexej von Jawlensky. Reisen, Freunde, Wandlungen, ed. by Tayfun Belgin, exh. cat. Dortmund 1998, p. 119). These compositions, which were subject to only slight variations over the years, have often been associated with Russian Orthodox icons. What is certain is that they represent Jawlensky’s artistic search for an image of the divine and the quintessence of his oeuvre.
Öl auf Papier, auf Karton aufgezogen. 19 x 12,4 cm. Unter Glas gerahmt. Unten links rot monogrammiert 'A.J.', rechts rot datiert '35'. Rückseitig von Lisa Kümmel mit schwarzer Tusche bezeichnet "A. Jawlensky/ VII 1935/ N. 66" und wohl von Clemens Weiler mit blauem Kugelschreber bezeichnet "Ein Brausen kam daher". Auf der Rahmenpappe von Andreas Jawlensky mit schwarzer Tusche bezeichnet "A. Jawlensky/ Kleine Meditation Nr 66/VII 1935/ "Ein Brausen kam einher"/ 19,1 x 12,4 cm/ Öl auf Malpapier/ u.l.m.u.r.d." - In einwandfreier farbfrischer Erhaltung.
M. Jawlensky/Pieroni-Jawlensky/A. Jawlensky Bianconi Bd. III, Nr. 1720 mit ganzseitiger Farbabb. S. 167
Wir danken Angelica Jawlensky Bianconi, Muralto, für freundliche ergänzende Informationen.
Provenienz
Nachlass des Künstlers; Andreas Jawlensky, Locarno; Privatbesitz Baden-Württemberg (1970 vom Vorbesitzer erworben); Privatsammlung Baden-Württemberg
Das signierte und 1935 datierte Gemälde „Meditation. Ein Brausen kam einher“ gehört zur letzten bedeutenden Werkgruppe Jawlenskys. Mit den so genannten „Meditationen“ schloss er eine Entwicklung seines Schaffens ab, die mit den großen farbintensiven Köpfen in den Jahren vor dem Ersten Weltkrieg begonnen hatte, und die über die „Mystischen“ und „Abstrakten Köpfe“ der zwanziger Jahre eine fortschreitende farbliche und kompositorische Reduktion erfuhr. Mit dunklen Farben und wenigen schwarzen Linien reduzierte er die Gesichter auf das Nötigste. Bei der vorliegenden Arbeit ist die Nase eine breite, diagonale Linie, die Augen und der Mund sind dazu gegenläufige waagerechte Balken und die Zwischenräume sind farblich sparsam ausgefüllte Flächen. Die abstrahierten Gesichter sind losgelöst von jeglicher Individualisierung: „Die letzte Periode meiner Arbeiten hat ganz kleine Formate“, schreibt Jawlensky, „aber die Bilder sind noch tiefer und geistiger, nur mit der Farbe gesprochen. Da ich gefühlt habe, dass ich in Zukunft infolge meiner Krankheit nicht mehr werde arbeiten können, arbeitete ich wie ein Besessener diese meine kleinen Meditationen.“ (zit. aus: Lebenserinnerungen, in: Alexej von Jawlensky. Reisen, Freunde, Wandlungen, hg. von Tayfun Belgin, Ausst. Kat. Dortmund 1998, S. 119.) Diese über Jahre nur wenig variierten Kompositionen werden oft mit den russisch-orthodoxen Ikonen in Verbindung gebracht. Sicher ist, dass sie Jawlenskys künstlerische Suche nach einem Bild des Göttlichen darstellen und die Quintessenz seines Schaffens sind.
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