Modern & Contemporary Art

Modern & Contemporary Art

View full screen - View 1 of Lot 23. Abend in Reichertshausen (Evening in Reichertshausen).

Property from the Collection of Sir Michael Smurfit

Alexej von Jawlensky

Abend in Reichertshausen (Evening in Reichertshausen)

Lot Closed

September 17, 10:22 AM GMT

Estimate

130,000 - 180,000 EUR

Lot Details

Description

Alexej von Jawlensky

1864 - 1941

Abend in Reichertshausen (Evening in Reichertshausen)

signed A. Jawlensky (lower left) and indistinctly signed A.J. (lower right)

oil on linen-finish board mounted on panel

33.5 by 48 cm., 13 by 18⅞ in.

Framed: 57 by 71 cm., 22½ by 28 in.

Painted in 1904.

Estate of the Artist

Private Collection, Germany (acquired in 1995)

Private Collection

A gift from the above to the present owner

Maria Jawlensky, Lucia Pieroni-Jawlensky & AngelicaJawlensky, Alexej von Jawlensky, Catalogue Raisonné of the Oil Paintings, London, 1991, vol. I, no. 68, illustrated p. 77

During a summer stay in Reichertshausen, just north of Munich, Jawlensky painted this vibrant scenery. Abend in Reichertshausen is a prime example of Jawlensky’s early landscapes that combine influences of post-impressionism and fauvism. It was part of the exceptional collection of Sir Michael Smurfit and exhibited twice in Germany, at the Städtische Galerie im Lenbachhaus in Munich and the Städtisches Suermondt-Museum in Aachen. A vibrant palette of orange, yellow and light green hues draw in the viewers gaze. The light-blue secluded house stands against a yellow sky and is surrounded by brown trees, blazing red bushes and a lawn of chatoyant greens. The painting’s expressive brushstrokes and the juxtaposing colours such as the orange and light blue hint at works by Vincent Van Gogh or the Fauvs.


This canvas is characteristic of a new artistic style that Jawlensky aimed to develop together with fellow artists such as Wassily Kandinsky as part of the group called Der Blaue Reiter. Whilst each artist remained true to his very own style, bold colours, expressive lines and rhythmic compositions became a guiding feature. They liberated painting from its mimetic fixation and focused on depicting the artist’s feelings through colour and form.