ALEXEI JAWLENSKY HEILANDSGESICHT: ENSTAGUNG (SAVIOR'S FACE: RENUNCIATION)

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ALEXEI JAWLENSKY
HEILANDSGESICHT: ENSTAGUNG (SAVIOR'S FACE: RENUNCIATION)
Signed A.J. (lower left); signed A. Jawlensky, titled and dated 1921 (on the reverse); further inscribed by the artist's son (on the reverse)
Oil on linen-finish paper laid down on card laid down on wood
12¾ by 9⅞ in.
32.4 by 25.1 cm
Painted in 1921.

PROVENANCE
Estate of the artist
Andreas Jawlensky (son of the artist; acquired from the above)
Sale: Grisebach GmbH, Berlin, June 7, 2002, lot 23
Private Collection

EXHIBITED
Dresden, Galerie Emil Richter, 1922
Chemnitz, Kunsthütte Chemnitz, 1923, no. 232
Stuttgart, Kunsthaus Schaller, 1923
Frankfurt, Galerie Schames, Group Exhibition, 1923
Munich, Städtische Galerie im Lenbachhaus & Baden-Baden, Staatliche Kunsthalle Baden-Baden, Alexej Jawlensky 1864-1941, 1983, no. 163, illustrated in the catalogue
New York, Leonard Hutton Galleries, Jawlensky, Father and Son, 1987, no. 52, illustrated in color in the catalogue
Milan, Galerie del Naviglio, Alexej Jawlensky: disegni e pitture, 1900-1936, 1991, no. 24, illustrated in color in the catalogue
Barcelona, Museu Picasso, Alexej von Jawlensky, 1992, no. 89, illustrated in color in the catalogue
Bietigheim-Bissingen, Städtische Galerie Bietigheim-Bissingen, Alexej von Jawlensky : Gemälde, Aquarelle, Zeichnungen, 1994, no. 45, illustrated in color in the catalogue
Rotterdam, Museum Boymans-van Beuningen, Alexej von Jawlensky, 1994, no. 99, illustrated in color in the catalogue
Milan, Palazzo Reale, Alexej von Jawlensky, 1995, no. 56, illustrated in color in the catalogue
Graz, Künstlerhaus Graz, Alexej von Jawlensky : "Leidenschaft und Erkenntnis" : Gesichte, Köpfe, Meditationen, 1997, no. 17, illustrated in color in the catalogue
St. Petersburg, The State Russian Museum, Alexej von Jawlensky: a biography, 2000
Genoa, Palazzo Ducale, Kandinsky, Vrubel, Jawlensky e gli artisti russi a Genova e nelle riviere : passaggio in Liguria, 2001, no. 215, illustrated in color in the catalogue

LITERATURE
Clemens Weiler, Alexej Jawlensky, Cologne, 1959, no. 277, illustrated p. 247
Clemens Weiler, Alexej Jawlensky : Köpfe, Gesichte, Meditationen, 1970, no. 152
Maria Jawlensky, Lucia Pieroni-Jawlensky & Angelica Jawlensky, Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, vol. II, London, 1992, no. 1155, illustrated in color p. 351

CATALOGUE NOTE
Heilandsgesicht: Enstagung (Savior's Face: Renunciation) demonstrates Alexej von Jawlensky’s remarkable ability to create an image of contemplative beauty and pathos within a highly pared-down method of painting. Beginning around 1910, Jawlensky employed the human head as an apparatus to which to apply his highly subjective strategies of modernist painting, such as isolated lines, grids, and gradients accompanied by an expressive palette, in lieu of a traditionally representational rendering. His heads reference both the religious icons from his childhood spent in Russia and Modernism’s interest in the simplified forms of non-Western art.

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Currently Available for Private Sale

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