Lot

70

Alexej von Jawlensky, Mystischer Kopf: Kopf in Lila und Blau

In Evening Sale - Modern and Contemporary Art

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Köln
Alexej von Jawlensky, Mystischer Kopf: Kopf in Lila und Blau
Oil on card, mounted on wood. 40 x 30.9 cm. Framed under glass. Unsigned. Verso signed, dated and inscribed 'A. Jawlensky, Kopf in Lila und Blau, 1917, K 40 x 30,7, M.K. No. 40' in blue by the artist's son. - In very good condition with fresh colours. Tiny losses of colour in the lower right and left corner.

M. Jawlensky/Pieroni-Jawlensky/A. Jawlensky Bianconi vol. II, no. 898 with ill. p. 203. Inscribed "Die Schöne" in the artist's Cahier Noir.

Provenance
Artist's estate; Dalzell Hatfield Galleries, Los Angeles (1967) (label verso); Feingarten Galleries, Los Angeles (label verso); Hauswedell & Nolte, Hamburg, Auktion 206, June 1975, lot 788; Private collection, Rhineland

Exhibitions
Cologne 1958 (Galerie Aenne Abels), cat. no. 20; Bonn 1958 (Städtische Kunstsammlungen), Alexej Jawlensky - Adolf Hölzel, cat. no. 17; Berlin 1958 (Haus am Waldsee), cat. no. 47; Munich 1959 (Städtische Galerie im Lenbachhaus), Alexej Jawlensky und Marianne von Werefkin, cat. no. 27; Nuremberg 1959 (Fränkische Galerie), Alexej Jawlensky und Marianne von Werefkin, cat. no. 21; Geneva 1963 (Galerie Krugier), no. 34

Literature
Clemens Weiler, Alexej Jawlensky, Cologne 1959, cat. no. 214 (titled "Lila und Blau")

The “Kopf in Lila und Blau” belongs to Jawlensky’s “Mystische Köpfe” series, which he created during his stay in Zurich and then later in Ascona. Following his previous “Mädchenköpfe”, which include the version from 1913 (lot 71), the “Mystische Köpfe” are characterised by further abstraction: head, hair, eyes and mouth are now indicated by just a few horizontal, vertical or curved lines, and the resulting shapes are filled in with bold colours. Around 1917 Jawlensky was striving to create an increasingly schematic form of the face that displays hardly any individual features. The hair falling on to the forehead and the pleasantly curving lips are the last reminiscences of an individual characterisation. As summarised in the catalogue of the major Jawlensky exhibition shown in Munich in 1983, from that time on, the “Mystische Köpfe” became “symbols of an inner gaze which rendered reality, in its physical presence, increasingly insignificant” (cited in: Alexej Jawlensky, exh. cat. München 1983, p. 246). Jawlensky himself wrote along these lines to Father Verkade: “I sat in my studio and painted, and I had no need for nature as a prompter. It was enough for me when I concentrated, prayed and prepared my soul in a religious state” (op. cit.).
The period in Zurich and Ascona was an important, though painful part of Jawlensky’s life. Artistically, he was working on two series at the same time: the “Mystische Köpfe” and the “Variationen”. Privately, he definitively separated from Marianne von Werefkin, his romantic partner of many years. However, the period around 1917/1918 was also defined by many interesting personal contacts. For example, he saw his old friend the dancer Alexander Sacharoff and his wife Clotilde von Derp again, and he also met with Wilhelm Lehmbruck, Marie Laurencin and Paul Cassirer.
Alexej von Jawlensky, Mystischer Kopf: Kopf in Lila und Blau
Öl auf Karton, auf Holz aufgezogen. 40 x 30,9 cm. Unter Glas gerahmt. Unbezeichnet. Rückseitig vom Sohn des Künstlers in Blau signiert, datiert und bezeichnet 'A. Jawlensky, Kopf in Lila und Blau, 1917, K 40 x 30,7, M.K. No. 40'. - In sehr guter, farbfrischer Erhaltung. Winzige Farbverluste in der rechten und linken unteren Ecke.

M. Jawlensky/Pieroni-Jawlensky/A. Jawlensky Bianconi Bd. II, Nr. 898 mit Abb. S. 203. Im Cahier Noir des Künstlers als "Die Schöne" bezeichnet.

Provenienz
Nachlass des Künstlers; Dalzell Hatfield Galleries, Los Angeles (1967) (Etikett auf der Rückseite); Feingarten Galleries, Los Angeles (Etikett auf der Rückseite); Hauswedell & Nolte, Hamburg, Auktion 206, Juni 1975, Lot 788; Privatsammlung Rheinland

Ausstellungen
Köln 1958 (Galerie Aenne Abels), Kat. Nr. 20; Bonn 1958 (Städtische Kunstsammlungen), Alexej Jawlensky - Adolf Hölzel, Kat. Nr. 17; Berlin 1958 (Haus am Waldsee), Kat. Nr. 47; München 1959 (Städtische Galerie im Lenbachhaus), Alexej Jawlensky und Marianne von Werefkin, Kat. Nr. 27; Nürnberg 1959 (Fränkische Galerie), Alexej Jawlensky und Marianne von Werefkin, Kat. Nr. 21; Genf 1963 (Galerie Krugier), Nr. 34

Literatur
Clemens Weiler, Alexej Jawlensky, Köln 1959, Kat. Nr. 214 (dort betitelt "Lila und Blau")

Der „Kopf in Lila und Blau“ gehört zu Jawlenskys Serie der „Mystischen Köpfe“, die während seines Aufenthalts in Zürich und später in Ascona entstanden. Nach den vorausgegangenen „Mädchenköpfen“, zu denen auch die Fassung von 1913 (lot 71) zählt, zeichnen sich die „Mystischen Köpfe“ durch eine weitere Abstrahierung aus – Haupt, Haare, Augen und Mund wurden nur noch mit wenigen waagerechten, senkrechten oder geschwungenen Linien umrissen und die so entstehenden Flächen mit starken Farben koloriert. Um 1917 strebte Jawlensky eine zunehmend schematisierte Form des Antlitzes an, die kaum noch individuelle Merkmale aufweist. Das in die Stirn fallende Haar und die schön geschwungenen Lippen sind die letzten Reminiszenzen einer individuellen Ausprägung. Wie es im Katalog der großen Jawlensky-Ausstellung 1983 in München zusammenfassend heißt, wurden die „Mystischen Köpfe“ nunmehr zu „Sinnbildern einer inneren Schau, die die Wirklichkeit in ihrer physischen Präsenz zunehmend bedeutungslos machte“. (zit. nach: Alexej Jawlensky, Ausst. Kat. München 1983, S. 246). Jawlensky selbst schreibt in diesem Sinne an Pater Verkade: „Ich saß in meinem Atelier und malte und mir war die Natur als Souffleur nicht notwendig. Mir war genug, wenn ich mich selbst vertiefte, betete und meine Seele vorbereitete in einen religiösen Zustand.“ (a.a.O.)
Die Zeit in Zürich und Ascona war für Jawlensky ein wichtiger, wenn auch schmerzlicher Lebensabschnitt. Künstlerisch arbeitete er an zwei Serien gleichzeitig – an den „Mystischen Köpfen“ und an den „Variationen“. Privat trennte er sich endgültig von seiner langjährigen Gefährtin Marianne von Werefkin. Die Jahre um 1917/1918 waren aber auch von vielen interessanten Kontakten geprägt. So sah er seinen alten Freund, den Tänzer Alexander Sacharoff, und seine Frau Clotilde von Derp wieder, begegnete aber auch Wilhelm Lehmbruck, Marie Laurencin und Paul Cassirer.
Alexej von Jawlensky, Mystischer Kopf: Kopf in Lila und Blau
Oil on card, mounted on wood. 40 x 30.9 cm. Framed under glass. Unsigned. Verso signed, dated and inscribed 'A. Jawlensky, Kopf in Lila und Blau, 1917, K 40 x 30,7, M.K. No. 40' in blue by the artist's son. - In very good condition with fresh colours. Tiny losses of colour in the lower right and left corner.

M. Jawlensky/Pieroni-Jawlensky/A. Jawlensky Bianconi vol. II, no. 898 with ill. p. 203. Inscribed "Die Schöne" in the artist's Cahier Noir.

Provenance
Artist's estate; Dalzell Hatfield Galleries, Los Angeles (1967) (label verso); Feingarten Galleries, Los Angeles (label verso); Hauswedell & Nolte, Hamburg, Auktion 206, June 1975, lot 788; Private collection, Rhineland

Exhibitions
Cologne 1958 (Galerie Aenne Abels), cat. no. 20; Bonn 1958 (Städtische Kunstsammlungen), Alexej Jawlensky - Adolf Hölzel, cat. no. 17; Berlin 1958 (Haus am Waldsee), cat. no. 47; Munich 1959 (Städtische Galerie im Lenbachhaus), Alexej Jawlensky und Marianne von Werefkin, cat. no. 27; Nuremberg 1959 (Fränkische Galerie), Alexej Jawlensky und Marianne von Werefkin, cat. no. 21; Geneva 1963 (Galerie Krugier), no. 34

Literature
Clemens Weiler, Alexej Jawlensky, Cologne 1959, cat. no. 214 (titled "Lila und Blau")

The “Kopf in Lila und Blau” belongs to Jawlensky’s “Mystische Köpfe” series, which he created during his stay in Zurich and then later in Ascona. Following his previous “Mädchenköpfe”, which include the version from 1913 (lot 71), the “Mystische Köpfe” are characterised by further abstraction: head, hair, eyes and mouth are now indicated by just a few horizontal, vertical or curved lines, and the resulting shapes are filled in with bold colours. Around 1917 Jawlensky was striving to create an increasingly schematic form of the face that displays hardly any individual features. The hair falling on to the forehead and the pleasantly curving lips are the last reminiscences of an individual characterisation. As summarised in the catalogue of the major Jawlensky exhibition shown in Munich in 1983, from that time on, the “Mystische Köpfe” became “symbols of an inner gaze which rendered reality, in its physical presence, increasingly insignificant” (cited in: Alexej Jawlensky, exh. cat. München 1983, p. 246). Jawlensky himself wrote along these lines to Father Verkade: “I sat in my studio and painted, and I had no need for nature as a prompter. It was enough for me when I concentrated, prayed and prepared my soul in a religious state” (op. cit.).
The period in Zurich and Ascona was an important, though painful part of Jawlensky’s life. Artistically, he was working on two series at the same time: the “Mystische Köpfe” and the “Variationen”. Privately, he definitively separated from Marianne von Werefkin, his romantic partner of many years. However, the period around 1917/1918 was also defined by many interesting personal contacts. For example, he saw his old friend the dancer Alexander Sacharoff and his wife Clotilde von Derp again, and he also met with Wilhelm Lehmbruck, Marie Laurencin and Paul Cassirer.
Alexej von Jawlensky, Mystischer Kopf: Kopf in Lila und Blau
Öl auf Karton, auf Holz aufgezogen. 40 x 30,9 cm. Unter Glas gerahmt. Unbezeichnet. Rückseitig vom Sohn des Künstlers in Blau signiert, datiert und bezeichnet 'A. Jawlensky, Kopf in Lila und Blau, 1917, K 40 x 30,7, M.K. No. 40'. - In sehr guter, farbfrischer Erhaltung. Winzige Farbverluste in der rechten und linken unteren Ecke.

M. Jawlensky/Pieroni-Jawlensky/A. Jawlensky Bianconi Bd. II, Nr. 898 mit Abb. S. 203. Im Cahier Noir des Künstlers als "Die Schöne" bezeichnet.

Provenienz
Nachlass des Künstlers; Dalzell Hatfield Galleries, Los Angeles (1967) (Etikett auf der Rückseite); Feingarten Galleries, Los Angeles (Etikett auf der Rückseite); Hauswedell & Nolte, Hamburg, Auktion 206, Juni 1975, Lot 788; Privatsammlung Rheinland

Ausstellungen
Köln 1958 (Galerie Aenne Abels), Kat. Nr. 20; Bonn 1958 (Städtische Kunstsammlungen), Alexej Jawlensky - Adolf Hölzel, Kat. Nr. 17; Berlin 1958 (Haus am Waldsee), Kat. Nr. 47; München 1959 (Städtische Galerie im Lenbachhaus), Alexej Jawlensky und Marianne von Werefkin, Kat. Nr. 27; Nürnberg 1959 (Fränkische Galerie), Alexej Jawlensky und Marianne von Werefkin, Kat. Nr. 21; Genf 1963 (Galerie Krugier), Nr. 34

Literatur
Clemens Weiler, Alexej Jawlensky, Köln 1959, Kat. Nr. 214 (dort betitelt "Lila und Blau")

Der „Kopf in Lila und Blau“ gehört zu Jawlenskys Serie der „Mystischen Köpfe“, die während seines Aufenthalts in Zürich und später in Ascona entstanden. Nach den vorausgegangenen „Mädchenköpfen“, zu denen auch die Fassung von 1913 (lot 71) zählt, zeichnen sich die „Mystischen Köpfe“ durch eine weitere Abstrahierung aus – Haupt, Haare, Augen und Mund wurden nur noch mit wenigen waagerechten, senkrechten oder geschwungenen Linien umrissen und die so entstehenden Flächen mit starken Farben koloriert. Um 1917 strebte Jawlensky eine zunehmend schematisierte Form des Antlitzes an, die kaum noch individuelle Merkmale aufweist. Das in die Stirn fallende Haar und die schön geschwungenen Lippen sind die letzten Reminiszenzen einer individuellen Ausprägung. Wie es im Katalog der großen Jawlensky-Ausstellung 1983 in München zusammenfassend heißt, wurden die „Mystischen Köpfe“ nunmehr zu „Sinnbildern einer inneren Schau, die die Wirklichkeit in ihrer physischen Präsenz zunehmend bedeutungslos machte“. (zit. nach: Alexej Jawlensky, Ausst. Kat. München 1983, S. 246). Jawlensky selbst schreibt in diesem Sinne an Pater Verkade: „Ich saß in meinem Atelier und malte und mir war die Natur als Souffleur nicht notwendig. Mir war genug, wenn ich mich selbst vertiefte, betete und meine Seele vorbereitete in einen religiösen Zustand.“ (a.a.O.)
Die Zeit in Zürich und Ascona war für Jawlensky ein wichtiger, wenn auch schmerzlicher Lebensabschnitt. Künstlerisch arbeitete er an zwei Serien gleichzeitig – an den „Mystischen Köpfen“ und an den „Variationen“. Privat trennte er sich endgültig von seiner langjährigen Gefährtin Marianne von Werefkin. Die Jahre um 1917/1918 waren aber auch von vielen interessanten Kontakten geprägt. So sah er seinen alten Freund, den Tänzer Alexander Sacharoff, und seine Frau Clotilde von Derp wieder, begegnete aber auch Wilhelm Lehmbruck, Marie Laurencin und Paul Cassirer.

Evening Sale - Modern and Contemporary Art

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Tags: Marie Laurencin, Modern & Impressionist Art