Alexej von Jawlensky:
Picture "Portrait Lisa Kümmel" (1930), framed
Proportional view
Picture "Portrait Lisa Kümmel" (1930), framed
Alexej von Jawlensky:
Picture "Portrait Lisa Kümmel" (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 approx. 52 x 41 cm (h/w)

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Product no. IN-905844

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Frame variant
Picture "Portrait Lisa Kümmel" (1930), framed
Alexej von Jawlensky: Picture "Portrait Lisa Kümmel" (193...

Detailed description

Picture "Portrait Lisa Kümmel" (1930), framed

Original: 1930, oil on cardboard, 42.5 x 32.3 cm, Inv. No. M 217 Wiesbaden, Museum Wiesbaden.

High-quality Fine Art Giclée museum edition on artist's cotton canvas. Limited edition of 980 copies, numbered on the back with certificate. Mounted on a stretcher frame like a painting and framed in a fine black satin gallery frame with Munich gold. Size approx. 52 x 41 cm (h/w). ars mundi Exclusive Edition.

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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.

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