Alexej von Jawlensky

Private Collection, Berlin (acquired by 1928)
Private Collection, Essen (by descent from the above in 1986)
Thence by descent to the present owner in 1988

Oil on linen-finish paper laid down on board. UV examination reveals an approximately 1.5cm-wide area of retouching to the centre of the lower edge, a 2.5cm-long line to the centre of the upper edge and a small spot to the upper left corner. There are a few further spots of retouching to the lower left corner. There are artist's pinholes to all four corners. There is a spot of paint loss to the centre of the figure's left orange eyebrow. The colours are fresh. This work is in overall good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Heilandsgesicht: Schönheit (Rote), painted in 1921, is one of Jawlensky’s most accomplished paintings from his series of variations on the ‘Mystic Head’, also known as the ‘Saviour’s Face’ theme, produced between 1917 and 1921. Harmonious in composition and delicate in the rendering of colour, Jawlensky has captured the magical spirit of this image in a most accomplished manner. The format and arrangement of the present work are reminiscent of traditional Russian orthodox icons, familiar artefacts from Jawlensky’s childhood. Stylistically this painting epitomises the height of the artist’s gradual reduction of form to the most essential geometric shapes, a goal pursued throughout his career.

Within Jawlensky’s œuvre, the central theme of exploration is the human face, in which he discovered ‘the perfect expression for his Eastern piety and mysticism’ (Clemens Weiler, Jawlensky, Heads Faces Meditations, London, 1971, p. 9). The innate spirituality of the work and transcendent quality of light and colour, alludes to Jawlensky’s belief in an affiliation between Art and God. Jawlensky once stated that, ‘For a few years I painted these variations and then it was necessary for me to find a form for the face, since I had understood that great art should only be painted with religious feeling. And I could bring this feeling only to the human face. I understood that in his art, the artist must use form and colour to say what is divine in him. For that reason, the work of art is a visible god, and art is the “longing for God”’ (quoted in Masters of Colour: Derain to Kandinsky (exhibition catalogue), Royal Academy of Arts, London, 2002, p. 142).