Alexej von Jawlensky, ‘Heilandsgesicht’, Galerie Schwarzer

Signature: signed with the monogram

Galerie Thomas, Munich, „Alexej von Jawlensky. Eine Ausstellung zum 50. Todesjahr“, 1991
Kunstsammlung Jena, „Ich arbeite für mich, nur für mich und meinen Gott. Alexej von Jawlensky. Gemälde, Aquarelle und Zeichnungen, 2012, no. 1/63, p. 220 with ill. p. 154
Haus Beda, Bitburg, „Meister der Klassischen Moderne“, 2013

The Alexej von Jawlensky Archive, Catalogue Raisonné, Vol. II, 1914-1933, no. 1209 with ill. p. 373

Barbara Shields Crowley, USA
Galerie Thomas, Munich
Private Collection, Germany
Private Collection

About Alexej von Jawlensky

Alexej von Jawlensky primarily painted archetypal portraits in an increasingly abstract style, eventually reducing the face to simple geometric forms in contrasting colors. Earlier on, his portraits, landscapes, and still lifes drew inspiration from Wassily Kandinsky—with whom he helped form “Der Blaue Reiter” (The Blue Rider)—as well as the Fauves (especially Henri Matisse) and the Neo-Impressionists, particularly with respect to the use of vibrant color. As he adopted a progressively more Expressionist style, he began to focus solely on the human face as an object of religious meditation. These simplified spiritual portraits stemmed from the piety of his Russian Orthodoxy, elevating his work to a sort of modern religious iconography. He painted these “Meditations” exclusively toward the end of his life, during which time he suffered from debilitating arthritis.

Russian, 1864-1941, Torschok, Russia