Russian-born but considered a
German artist, Alexei (Alexsej, Aleksiej)
von Jawlensky (1864-1941)
worked
most of his life in Germany, beginning in 1896.
He became acquainted with Wassily Kandinsky at that time, when both were
students of Anton
Azbè in Munich. Another Russian enrolled there was Jawlensky's
long-time friend Marianne von Werefkin. Gabriele Münter was added to
their set while attending Kandinsky's school opened in 1901, and the
four soon became close companions. Werefkin continued painting as
a Symbolist (until she gave up her art to foster his), but the others
began in 1908 to develop an Expressionist style that featured powerful
non-naturalistic coloring, strong light, simplification of form and a
flat treatment of space.
With more international
experience at that time than the rest, Jawlensky was aware of trends in
France and greatly influenced Münter with the Nabis’ idea of cloisonnismus,
the concentration of the pictorial elements on a few flatly painted
figures enclosed in black contours (similar to cloisonné enamelwork).
Many of her pictures from 1908–1909 resemble those Jawlensky produced
at the same time.
Another aspect of his impact is
that he drew the others' notice to Bavarian and Bohemian folk art in the
form of Hinterglasmalerei (back-painted glass). Charmed by the
naive elegance and radiant hues of these objects, many who were to be
'Blue Rider' artists began collecting them and even painting on
glass. He further led expansion of their group beyond
its original core, by hosting meetings of a precursor organization, the
New Artists' Association.
Considered enemies of the state
during World War I and forbidden to stay in Germany, Jawlensky and
Werefin emigrated to Switzerland, where they were in contact with Klee,
as well as Hodler, Janco, Lehmbruck, Richter, Arp and Taeuber-Arp.
Here his style veered away
from the vivid and sensual. Between 1914 and 1921 he embarked on
four major series : the Variations, the Mystical Heads,
the Savior's Faces and the Abstract Heads, all challenging
the idea of the uniqueness of the masterpiece, since these should be
viewed as a whole rather than individually. As he wrote in his
memoirs: When I first arrived in Saint-Prex I intended to
continue working as I had in Munich. But something deep inside me
held me back ... So much suffering had left its mark and I had to
find other forms and colors to express what was stirring my soul.
The Soviet Revolution created
further complexities for the household, since their main source of
support - Werefkin's Russian income - ceased. After the war he
left her, became a German citizen and married his mistress, who was her
maid, finally acknowledging their son born in 1902.
Besides his Expressionistic
work, Jawlensky is known today for the mystical tone of his later
abstract faces.
BELOW:
Gebirgsdorf 1910
Light and Shadow (Licht und Schatten)
Meditation (The Prayer),
1922, oil on cardboard, Lenbachhaus, Munich.
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