Alexej von Jawlensky (1864-1961)

Stilleben mit Stuhl und Blumenstrauss

Details
Alexej von Jawlensky (1864-1961)
Stilleben mit Stuhl und Blumenstrauss
signed 'a. jawlensky' (upper right), signed again and dated 'A. Jawl. 1906' (on the reverse), further inscribed and numbered by Galka Scheyer 'Still mit Stuhl und Messer S. 127' (on the reverse)
oil on board
17½ x 13in. (44.5 x 33cm.)
Painted in 1906
Provenance
Anon. sale, Galerie Gerd Rosen, Berlin, 11-15 May 1959, lot 999.
Frankfurter Kunstkabinett, Frankfurt, 1961, no. 117.
Anon. sale, Stuttgarter Kunstkabinett, Stuttgart, 1962, lot 173.
Literature
C. Weiler, Alexej von Jawlensky, Gemälde, Feldafing, 1958 (illustrated in colour p. 31).
C. Weiler, Alexej Jawlensky, Cologne, 1959, no. 724 (illustrated p. 31, titled 'Stilleben mit Vase, blauer Schale und Messer').
M. Jawlensky, L. Pieroni-Jawlensky and A. Jawlensky, Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, vol. I., 1890-1914, no. 180 (illustrated p. 161, dated circa 1907).
Exhibited
Berlin, Haus am Waldsee, 1958, no. 8.
Frankfurt, Frankfurter Kunstkabinett, Gemälde, Aquarelle, Handzeichnungen, Graphik und Plastik des 20. Jahrhunderts, 1959-60, no. 52 (illustrated).

Lot Essay

From 1905 to 1907 Jawlensky visited Paris three times, usually around the time of the Salon d'Automne, and in 1906 ten of his paintings were included in the Russian pavilion of the Salon. In 1905 he met Matisse, and in late 1906 or early 1907, he became close friends with Willibrord Verkade, the painter and monk who had known Gauguin and was a member of the Nabis circle during the 1890s.

At this time Cézanne's work also seems to have had an important influence on Jawlensky. In 1907 Jawlensky made a special trip to Paris with his wife Helene and their five year old son Andreas, to see the late great master's retrospective at the Salon.

In his memoirs, dictated to Lisa Kümmel in 1937, Jawlensky recalled: "at that time I was painting mostly still-lifes because in them I could more easily find myself. I tried in these still-life paintings to go beyond the material objects and express in colour and form the thing which was vibrating within me, and I achieved some good results."

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