Alexej von Jawlensky:
Picture "Blue Vase" (1930), framed
Proportional view
Picture "Blue Vase" (1930), framed
Alexej von Jawlensky:
Picture "Blue Vase" (1930), framed

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ars mundi Exclusive Edition | limited, 980 copies | numbered | certificate | reproduction, Giclée print on canvas | on stretcher frame | framed | size 68 x 56 cm (h/w)

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Product no. IN-944481

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Frame variant
Picture "Blue Vase" (1930), framed
Alexej von Jawlensky: Picture "Blue Vase" (1930), framed

Detailed description

Picture "Blue Vase" (1930), framed

In 1917, Jawlensky moved from Lake Geneva to Zurich. There he devoted himself not only to portraits but also to still lifes. Original: 1930, oil on cardboard, 53 x 42 cm, Kunsthalle Hamburg.

Edition transferred directly onto artist's canvas using the Fine Art Giclée process and stretched on stretcher frame. Limited edition of 980 copies, numbered and with certificate. Framed in handmade, white-golden solid wood frame. Size 68 x 56 cm (h/w). ars mundi Exclusive Edition.

Portrait of the artist Alexej von Jawlensky

About Alexej von Jawlensky

1864-1941, German-Russian painter

It was not until 1889 that the former Russian Imperial Guard Alexej von Jawlensky in the Tsarist army began his artistic training. In 1896, he moved to Munich to attend a private art school where he met Wassily Kandinsky. In Murnau Jawlensky first worked together with Kandinsky and Gabriele Münter. And together they founded the Artist's Association "Neue Künstlervereinigung München". In addition, Jawlensky was a key member of the "Blauer Reiter" movement. He later co-founded the group "The Blue Four" with Klee, Kandinsky and Feininger.

Expelled from Germany as a Russian citizen in 1914, during the beginning of World War l, the artist settled in Switzerland and later in Wiesbaden, Germany. During this time he created his famous abstract heads. Jawlensky died of a serious illness in 1941.

"My art is meditation or prayer in colours", Jawlensky once said, and indeed his work is characterised by great religiousness. This is particularly noticeable in the series of works of the Saviour’s faces and the abstract heads, which Jawlensky summarises in his memoirs as "saints' heads". The influence of orthodox iconography is unmistakable, and they were already understood as a modern version of the icon by contemporary artist colleagues. The human face in many variations – mostly in strong, even bright colours – had already been a focus of his work before. With the saints' heads, he became more restrained in colour and reduced the subject of the portrait to the face itself. They seem de-individualised without losing expressiveness. A progressive abstraction, lead to an iconic form, which in the sequence seem like a search for an unattainable divine archetype.

Influenced by Fauvism, Alexej von Jawlensky painted with bright colours, fierce brushwork and dark outlines. His works are among the most sought-after works of classical modernism and can be found in the world's great museums.