Alexej von Jawlensky (1867-1941)

Sitzender weiblicher Akt

細節

Alexej von Jawlensky (1867-1941)
Sitzender weiblicher Akt
signed with initials 'A.J.' (lower left)
oil on board
19.7/8 x 13½ in. (50.5 x 34.3 cm.)
Painted circa 1910

來源

Acquired from artist.
Otto Ritschl, Weisbaden.
Frankfurter Kunstkabinett (Hanna Bekker vom Rath), Frankfurt.
Dr. Ilse Holm, Witten an der Ruhr.
Ellen Mela Kyriazi, Lausanne.
Acquired from the above by the present owner, 1981.

出版

M. Jawlensky, L. Pieroni-Jawlensky and A. Jawlensky, Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, 1890-1914, London, 1991, vol. I, p. 282, no. 336 (illustrated in color, p. 268).

展覽

Frankfurt, Frankfurter Kunstkabinett; Munich, Kunstkabinett Klihm, and Dortmund, Museum am Ostwall, Alexej von Jawlensky, April-August 1954, no. 13.
Hamburg, Kunstverein, Jawlensky, October-December 1967, no. 14 (illustrated).

拍場告示

Please note the correct medium of this work is oil on board laid down on panel and the correct dimensions are 19.7/8 x 13½ inches.
Please note the following additional information:
EXHIBITED:
New York, Helen Serger la Boetie, Paintings, Drawings, Watercolors and Prints by 20th Century Masters, 1973, p. 2, no. 69 (illustrated). Milan, Palazzo Reale, 1995, p. 79, no. 25 (illustrated in color).
LITERATURE:
R. Chiappini, "Alexej von Jawlensky, Una pittura sensuale e voluttuosa," Artigianato tra arte, funzione e design, Milan, 1995, p. 31, no. 17 (illustrated in color).

拍品專文

During the 1910s, Jawlensky became influenced by Matisse's Fauve paintings. Jawlensky was introduced to Matisse's work when they both exhibited in the Paris Salon d'Automne in October 1905, when the audience was shocked by the bright Fauve canvases of Matisse and Derain. Matisse's aesthetic principle--that the construction of volumes had to be achieved through color, freed from tonal modeling, and convey the artist's immediate response to his subject--became part of Jawlensky's painting practice. Later he recalled, "For the first time in my life I had grasped how to paint not what I saw but what I felt" (A. Jawlensky, Memoir dictated to Lisa Kmmel, Wiesbaden, 1937, trans. by E. Knstner and J. A. Underwood, London, 1970.)

The present painting shows Jawlensky's elaboration of Matisse's Fauve color and anti-naturalistic rendering of the female nude. She sits in front of an abstract background made up of complementary colors of green and red. In works such as Sitzender wieblicher Akt, Jawlensky successfully creates a more complex structural relationship between harmony and dissonance.