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Alexej Von Jawlenski
This beautifully illustrated biography brings together Alexej von Jawlensky's vividly rendered still-lifes, portraits and landscapes that recall the work of Kandinsky and Nolde as well as Matisse and Gauguin.
Day of the Artist
One girl, one painting a day...can she do it? Linda Patricia Cleary decided to challenge herself with a year long project starting on January 1, 2014. Choose an artist a day and create a piece in tribute to them. It was a fun, challenging, stressful and psychological experience. She learned about technique, art history, different materials and embracing failure. Here are all 365 pieces. Enjoy!
Alexej Von Jawlensky
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Schoenberg, Kandinsky, and the Blue Rider
The intellectual dialogue and friendship between two key modernist artists - the painter Wassily Kandinsky and the composer Arnold Schoenberg - forms the focal point of this fascinating survey, charting the early 20th century parallel movements towards abstraction in art and atonality in music.
Kandinsky, Marc & Der Blaue Reiter
For just a few years at the beginning of the twentieth century, Munich was the ?hot spot? of Germany?s artistic avant-garde. Russian painter Wassily Kandinsky and Franz Marc?s initiative as founding editors of the almanac Der Blaue Reiter (The Blue Rider) was a stroke of luck for the arts. The journal and exhibition of the same name made international waves when they heralded the start of the modern era in Germany before the First World War. Since then, the names of the movement?s key players Franz Marc, Gabriele Münter, Alexej von Jawlensky, August Macke et al., signal an essential chapter in the international history of art marked by the transition of painting into a vibrant, colorful and transcendental form of abstraction. This beautiful publication that dedicates itself to this topic will show a revolutionary re-valuation of the arts in an open Europe.00Exhibition: Fondation Beyeler, Riehen/Basel, Switzerland (4.9.2016-22.1.2017).
German Expressionist Painting
Published in 1957, German Expressionist Painting was the first comprehensive study of one of the most pivotal movements in the art of this century. When it was written, however, German Expressionism seemed like an eccentric manifestation far removed from what was then considered the mainstream of modern art. But as historians well know, each generation alters the concept of mainstream to encompass those aspects of the past which seem most relevant to the present. The impact of German Expressionism on the art and thought of later generations could never have been anticipated at the time of the original writing of this book. During the subsequent years an enormous body of scholarly research an...
Alexej and Andreas Jawlensky
Alexej von Jawlensky (1864-1941) is a recognized master whose works are kept in museums all over the world. He was a contemporary, associate and friend of Wassily Kandinsky, Gabriele Munter, Paul Klee and many other famous artists. In Russia he studied with Ilya Repin and admired the works of Valentine Serov, Konstantin Korovin and other masters of Russian realism and impressionism. In Germany since 1896, he had continued studies at Ashbe art school, where his friends also were the artists Igor Grabar, Marianne Werefkin, Dmitry Kardovsky. Therefore, this exhibition is in the context of his Russian contemporaries' works. Andreas Nesnakomoff-Jawlensky (1902-1984) was a son of Alexei Jawlensky. From his childhood, he was talented in art and many of his father's friends were amazed by his works. As an artist he was interested in nature, people and life, so his works are always full of color, sun and air. Exhibition: The State Russian Museum, Málaga, Spain (10.08.2017 - 21.01.2018) / The State Russian Museum / St Michael's Castle, St. Petersburg, Russia (22.02. - 10.04.2018).
Jawlensky
The whole issue of the face is central to the work of Alexei von Jawlensky (1846-1941), this Russian painter who emigrated to Germany. His work hovers between figurative and abstract representation of the face and offers another viewpoint on modernity. How is it that a contemporary painter managed to devote virtually all of his production to the face? How could he choose for his work's paradigm such a traditional form as the icon? Jawlensky exemplifies the artist who participated in modernity without belonging to it and experienced the frontiers between genres. His artistic quest achieved an impossibility: the abstract face.
