Alexej von Jawlensky (1864-1941)
Alexej von Jawlensky (1864-1941)

Landschaft, Am Genfer See

Alexej von Jawlensky (1864-1941)
Landschaft, Am Genfer See
signed and dated 'A. Jawlensky 14' (lower left)
oil on linen-finished paper laid down by the artist on board
Sheet size: 13 5/8 x 21 1/8 in. (34.5 x 53.7 cm.)
Mount size: 14 ¼ x 21 ¾ in. (36.3 x 55.3 cm.)
Painted in Saint-Prex in summer 1914
Estate of the artist.
Andreas Jawlensky, Locarno (by descent from the above).
Galerie Jacques Fricker, Paris (acquired from the above).
Kleemann Galleries, Inc., New York (acquired from the above).
Acquired from the above by the family of the late owner, December 1956.
C. Weiler, Alexej Jawlensky, Cologne, 1959, p. 268, no. 588 (illustrated).
C. Weiler, Alexej Jawlensky, Köpfe, Gesichte, Meditationen, Hanau, 1970, no. 1150.
M. Jawlensky, L. Pieroni-Jawlensky and A. Jawlensky, Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, 1914-1933, London, 1992, vol. II, p. 50, no. 635 (illustrated).
New York, Kleemann Galleries, Inc., Alexej v. Jawlensky, November-December 1956, no. 12 (illustrated).

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David Kleiweg de Zwaan
David Kleiweg de Zwaan

Lot Essay

The present work was painted at the outbreak of World War I, upon Alexej von Jawlensky, Marianne von Werefkin and his family's arrival in the small village town of Saint-Prex, on the banks of Lake Geneva. After fleeing Munich in August of 1914, the foursome found refuge here, thanks to a wealthy friend from Lausanne, A. von Khrushchov, who rented them a few rooms in the village. Without a studio, Jawlensky painted the landscape outdoors as he had earlier the same year in the south of France. Yet his traumatic experiences would not allow him to simply resume his most recent experiments. As he writes, "in the beginning at St Prex I tried to continue painting as I had in Munich, but something inside me would not allow me to go on with those...powerful, sensual works. I realized that my soul had undergone a change as a result of so much suffering and that I had therefore to discover different forms and colors to express what my soul felt" (quoted in "Memoir dictated to Lisa Kümmel, Wiesbaden, 1937," pp. 25-33 in M. Jawlensky, L. Pieroni-Jawlensky and A. Jawlensky, op. cit., p. 32).
It was on the banks of Lake Geneva that Jawlensky became fascinated by its transparent light and found these means of expression, working towards his distilled compositional abstractions. Landschaft, Am Genfer See is a perfect example of his new landscapes. An early example of the 1914 series, the colors are still Fauve and indebted to Henri Matisse's colorist vocabulary, but here he experiments with flattened perspective and structures the colorful fauna with horizontal bands of pale blue and pink.

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