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Alexej von Jawlensky, Meditation. Vergesse mich nicht

In Evening Sale - Moderne und Zeitgenössische Kun...

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Alexej von Jawlensky, Meditation. Vergesse mich nicht - Bild 1 aus 2
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Alexej von Jawlensky, Meditation. Vergesse mich nicht
Öl auf Karton, auf Unterlagekarton aufgezogen. 19 x 12,2 cm (Unterlagekarton 32,5 x 24,9 cm). Unter Glas gerahmt. Unten links rot monogrammiert 'A.J.', unten rechts rot datiert '35'. Rückseitig auf dem Unterlagekarton signiert, datiert und bezeichnet 'A. Jawlensky, 1935.VI, N15., J' sowie mit der Widmung 'Vergesse mich nicht'. - Sehr gute, farbfrische Erhaltung. Auf dem Unterlagekarton am oberen Bildrand Spuren eines abgerissenen Papierstreifens, zudem leichte Lichtränder.

Nicht bei M. Jawlensky/Pieroni-Jawlensky/A. Jawlensky Bianconi.

Das Gemälde wird im Jawlensky-Archiv des Städtischen Museums Wiesbaden unter A.J.A.- M - 35/005 geführt.

Provenienz
Staatliches Museum Wiesbaden, Jawlensky-Archiv, A.J.A., M - 35/005 (mit rückseitigem Etikett); Sammlung Herbert und Elfriede Messerschmidt, Landau; seitdem Familienbesitz, Pirmasens; Hauswedell & Nolte, Hamburg, Auktion 395, 10. Juni 2006, Lot 1305; Kunsthandel Thomas Schneider, München; Privatbesitz Nordrhein-Westfalen.

Rot, Orange, Gelb und Grün sind die dominierenden Farben der kleinen Komposition „Meditation. Vergesse mich nicht“ von 1935. Es ist die Zeit, in der Jawlensky mit großer Intensität an seiner letzten Werkgruppe arbeitet, während Europa auf einen unheilvollen Krieg zusteuert, er kaum noch ausstellen kann und schwer an einer schnell fortschreitenden Arthritis erkrankt. Dennoch gelang ihm von etwa 1933 bis 1937 in Abgeschiedenheit und mit großem Willen die Erschaffung seiner letzten Serie, die Meditationen, meist postkartengroße, weit abstrahierte Köpfe. „Das Berührende an ihnen ist“, schreibt Roman Zieglgänsberger, „dass sie direkt mit seinem Lebensende in Zusammenhang stehen und uns seine tiefgreifende Lebenserfahrung vor Augen führen.“ (Ders., Alexej Jawlensky, Köln 2016, S. 88 – 89). Mit dem Ende seines Schaffens vor Augen, wird der Untertitel zum traurigen Appell – „Vergesse mich nicht“.
Durch das kleine Format sind wir gezwungen, nah an das Bild heranzutreten. Ein Gerüst aus schwarzen, senkrechten und waagerechten Linien markiert die geschlossenen Augen, die Augenbrauen, den Mund und die Nase. Mit parallelen Pinselzügen in glühenden Farben füllte er die Zwischenräume aus. Dass sich der Mensch am Ende auflöst und im Dunkel der Nacht zu verschwinden scheint, deutet Jawlensky auch in einem seiner letzten Briefe an seine Freundin Galka Scheyer an: „Ich arbeite sehr viel und so intensiv […]. Ich habe aber keine Erlebnisse und darum male ich nur das, was in meiner Seele ist, was tief in mir liegt, wie eine Meditation. […] Die Bilder sind meist dunkel, aber das ist mir sehr lieb. Die Farben sind so geheimnisvoll, so tief; aber es gibt auch sehr farbig leuchtende, brennende, aber immer irgendwo aus einer anderen Welt.“ (zit. nach op. cit., S. 91) Wie in keiner anderen Werkgruppe werden in den Meditationen Jawlenskys Isolierung und seine Ohnmacht gegenüber den herrschenden Verhältnissen der späten Wiesbadener Jahre deutlich.
Alexej von Jawlensky, Meditation. Vergesse mich nicht
Oil on card, mounted to card support. 19 x 12.2 cm (card support 32.5 x 24.9 cm). Framed under glass. Monogrammed 'A.J.' in red lower left, dated '35' in red lower right. Verso signed, dated and inscribed 'A. Jawlensky, 1935.VI, N15., J' on card support as well as dedicatd 'Vergesse mich nicht'. - Very good condition with fresh colours. Upper edge of card support with traces of torn-off strip of paper, in addition slight light-stains.

Not recorded by M. Jawlensky/Pieroni-Jawlensky/A. Jawlensky Bianconi.

The painting is listed in the Jawlensky Archive of the Städtisches Museum Wiesbaden under A.J.A.- M - 35/005.

Provenance
Staatliches Museum Wiesbaden, Jawlensky-Archiv, A.J.A., M - 35/005 (label verso); Collection Herbert und Elfriede Messerschmidt, Landau; Familiy possession,Pirmasens, since; Hauswedell & Nolte, Hamburg, Auction 395, 10 June 2006, lot 1305; Kunsthandel Thomas Schneider, Munich; Private property, North Rhine-Westphalia.

Red, orange, yellow and green are the dominant colours in the little composition “Meditation: Vergesse mich nicht”, of 1935. This is the period in which Jawlensky was working with great intensity on his final group of works – as Europe steered towards a disastrous war, it had become nearly impossible for him to exhibit his work and he was suffering from rapidly worsening arthritis, making painting more and more difficult for him. Nonetheless, in isolation and with a great will to create, he succeeded in producing his final series, the Meditations: he painted these mostly postcard-sized, thoroughly abstract heads from around 1933 to 1937. “What is moving about them”, writes Ziglgänsberger, “is that they are directly connected with the end of his life and place his profound experience of life right before our eyes” (Roman Zieglgänsberger, Alexej Jawlensky, Cologne 2016, pp. 88–89). With the end of his oeuvre in mind, the subtitle becomes a sorrowful appeal: “Vergesse mich nicht” – forget me not.
The small format forces us to move up close to the picture. A network of black vertical and horizontal lines marks the closed eyes, the eyebrows, the mouth and the nose. Jawlensky has filled in the spaces between them with parallel strokes of luminous colours. He also suggests that the human individual vanishes in the end, seemingly disappearing into the darkness of the night, in one of his last letters to his friend Galka Scheyer: “I am working a great deal and so intensely […]. However, my experiences involve nothing noteworthy, and so I only paint what is in my soul, what lies deep within me, like a meditation. […] The pictures are mostly dark, but that pleases me. The colours are so mysterious, so deep; however, the colours of some of them are also very luminous, burning, but always somewhere from another world” (cited in Zieglgänsberger, p. 91). The Meditations show the isolation, powerlessness and tragedy of Jawlensky’s late period in Wiesbaden more clearly than any other group of works.
Alexej von Jawlensky, Meditation. Vergesse mich nicht
Öl auf Karton, auf Unterlagekarton aufgezogen. 19 x 12,2 cm (Unterlagekarton 32,5 x 24,9 cm). Unter Glas gerahmt. Unten links rot monogrammiert 'A.J.', unten rechts rot datiert '35'. Rückseitig auf dem Unterlagekarton signiert, datiert und bezeichnet 'A. Jawlensky, 1935.VI, N15., J' sowie mit der Widmung 'Vergesse mich nicht'. - Sehr gute, farbfrische Erhaltung. Auf dem Unterlagekarton am oberen Bildrand Spuren eines abgerissenen Papierstreifens, zudem leichte Lichtränder.

Nicht bei M. Jawlensky/Pieroni-Jawlensky/A. Jawlensky Bianconi.

Das Gemälde wird im Jawlensky-Archiv des Städtischen Museums Wiesbaden unter A.J.A.- M - 35/005 geführt.

Provenienz
Staatliches Museum Wiesbaden, Jawlensky-Archiv, A.J.A., M - 35/005 (mit rückseitigem Etikett); Sammlung Herbert und Elfriede Messerschmidt, Landau; seitdem Familienbesitz, Pirmasens; Hauswedell & Nolte, Hamburg, Auktion 395, 10. Juni 2006, Lot 1305; Kunsthandel Thomas Schneider, München; Privatbesitz Nordrhein-Westfalen.

Rot, Orange, Gelb und Grün sind die dominierenden Farben der kleinen Komposition „Meditation. Vergesse mich nicht“ von 1935. Es ist die Zeit, in der Jawlensky mit großer Intensität an seiner letzten Werkgruppe arbeitet, während Europa auf einen unheilvollen Krieg zusteuert, er kaum noch ausstellen kann und schwer an einer schnell fortschreitenden Arthritis erkrankt. Dennoch gelang ihm von etwa 1933 bis 1937 in Abgeschiedenheit und mit großem Willen die Erschaffung seiner letzten Serie, die Meditationen, meist postkartengroße, weit abstrahierte Köpfe. „Das Berührende an ihnen ist“, schreibt Roman Zieglgänsberger, „dass sie direkt mit seinem Lebensende in Zusammenhang stehen und uns seine tiefgreifende Lebenserfahrung vor Augen führen.“ (Ders., Alexej Jawlensky, Köln 2016, S. 88 – 89). Mit dem Ende seines Schaffens vor Augen, wird der Untertitel zum traurigen Appell – „Vergesse mich nicht“.
Durch das kleine Format sind wir gezwungen, nah an das Bild heranzutreten. Ein Gerüst aus schwarzen, senkrechten und waagerechten Linien markiert die geschlossenen Augen, die Augenbrauen, den Mund und die Nase. Mit parallelen Pinselzügen in glühenden Farben füllte er die Zwischenräume aus. Dass sich der Mensch am Ende auflöst und im Dunkel der Nacht zu verschwinden scheint, deutet Jawlensky auch in einem seiner letzten Briefe an seine Freundin Galka Scheyer an: „Ich arbeite sehr viel und so intensiv […]. Ich habe aber keine Erlebnisse und darum male ich nur das, was in meiner Seele ist, was tief in mir liegt, wie eine Meditation. […] Die Bilder sind meist dunkel, aber das ist mir sehr lieb. Die Farben sind so geheimnisvoll, so tief; aber es gibt auch sehr farbig leuchtende, brennende, aber immer irgendwo aus einer anderen Welt.“ (zit. nach op. cit., S. 91) Wie in keiner anderen Werkgruppe werden in den Meditationen Jawlenskys Isolierung und seine Ohnmacht gegenüber den herrschenden Verhältnissen der späten Wiesbadener Jahre deutlich.
Alexej von Jawlensky, Meditation. Vergesse mich nicht
Oil on card, mounted to card support. 19 x 12.2 cm (card support 32.5 x 24.9 cm). Framed under glass. Monogrammed 'A.J.' in red lower left, dated '35' in red lower right. Verso signed, dated and inscribed 'A. Jawlensky, 1935.VI, N15., J' on card support as well as dedicatd 'Vergesse mich nicht'. - Very good condition with fresh colours. Upper edge of card support with traces of torn-off strip of paper, in addition slight light-stains.

Not recorded by M. Jawlensky/Pieroni-Jawlensky/A. Jawlensky Bianconi.

The painting is listed in the Jawlensky Archive of the Städtisches Museum Wiesbaden under A.J.A.- M - 35/005.

Provenance
Staatliches Museum Wiesbaden, Jawlensky-Archiv, A.J.A., M - 35/005 (label verso); Collection Herbert und Elfriede Messerschmidt, Landau; Familiy possession,Pirmasens, since; Hauswedell & Nolte, Hamburg, Auction 395, 10 June 2006, lot 1305; Kunsthandel Thomas Schneider, Munich; Private property, North Rhine-Westphalia.

Red, orange, yellow and green are the dominant colours in the little composition “Meditation: Vergesse mich nicht”, of 1935. This is the period in which Jawlensky was working with great intensity on his final group of works – as Europe steered towards a disastrous war, it had become nearly impossible for him to exhibit his work and he was suffering from rapidly worsening arthritis, making painting more and more difficult for him. Nonetheless, in isolation and with a great will to create, he succeeded in producing his final series, the Meditations: he painted these mostly postcard-sized, thoroughly abstract heads from around 1933 to 1937. “What is moving about them”, writes Ziglgänsberger, “is that they are directly connected with the end of his life and place his profound experience of life right before our eyes” (Roman Zieglgänsberger, Alexej Jawlensky, Cologne 2016, pp. 88–89). With the end of his oeuvre in mind, the subtitle becomes a sorrowful appeal: “Vergesse mich nicht” – forget me not.
The small format forces us to move up close to the picture. A network of black vertical and horizontal lines marks the closed eyes, the eyebrows, the mouth and the nose. Jawlensky has filled in the spaces between them with parallel strokes of luminous colours. He also suggests that the human individual vanishes in the end, seemingly disappearing into the darkness of the night, in one of his last letters to his friend Galka Scheyer: “I am working a great deal and so intensely […]. However, my experiences involve nothing noteworthy, and so I only paint what is in my soul, what lies deep within me, like a meditation. […] The pictures are mostly dark, but that pleases me. The colours are so mysterious, so deep; however, the colours of some of them are also very luminous, burning, but always somewhere from another world” (cited in Zieglgänsberger, p. 91). The Meditations show the isolation, powerlessness and tragedy of Jawlensky’s late period in Wiesbaden more clearly than any other group of works.

Evening Sale - Moderne und Zeitgenössische Kunst

Auktionsdatum
Lose: 98
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Evening Sale - Modern and Contemporary Art

Evening Sale - Moderne und Zeitgenössische Kunst

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