.jpg?w=1)
Lot Essay
At the outbreak of the First World War in 1914, Jawlensky, like his friend and colleague Wassily Kandinsky, had to leave Germany. Jawlensky and Marianne Werefkin left for St. Prex on lake Geneva, where they stayed until 1917. Devoting himself at first almost exclusively to variations on a landscape, Jawlensky returned to the painting of heads in 1915. Julia falls into a group of heads of girls he painted between 1915 and 1917 in St. Prex, before embarking on the mystical heads.
The bold colours, juxtaposed as pure fields of colour, mark Jawlensky's unique treatment of composition, line and colour which he explored from various angles and different subject matters. In an essay on Jawlensky Emmy Scheyer wrote, 'Jawlensky has transposed the human head as such into a language of abstract life, raised it out of its earthly existence to manifest the soul and the spirit. The new laws that he has discovered are mathematical. He has interpolated the laws of other arts into his pictures. Architecture in the balance of colours, Music in the tonal rhythm of colours, Dance as line of colour, Sculpture as form in colour, Poetry as content or the enunciating word of colours, Painting as symphonic synthesis (as shaped symphonic work). These works of art not only carry all the arts within them, but each individual law of art contains within itself every other, with more or less weight' (E. Scheyer, quoted in M. Jawlensky et al, op. cit., p. 17.)
The bold colours, juxtaposed as pure fields of colour, mark Jawlensky's unique treatment of composition, line and colour which he explored from various angles and different subject matters. In an essay on Jawlensky Emmy Scheyer wrote, 'Jawlensky has transposed the human head as such into a language of abstract life, raised it out of its earthly existence to manifest the soul and the spirit. The new laws that he has discovered are mathematical. He has interpolated the laws of other arts into his pictures. Architecture in the balance of colours, Music in the tonal rhythm of colours, Dance as line of colour, Sculpture as form in colour, Poetry as content or the enunciating word of colours, Painting as symphonic synthesis (as shaped symphonic work). These works of art not only carry all the arts within them, but each individual law of art contains within itself every other, with more or less weight' (E. Scheyer, quoted in M. Jawlensky et al, op. cit., p. 17.)