Kees Van Dongen Max Ernst Alexej Von Jawlensky Otto Mueller Emil Nolde Max Pechstein Oskar Schlemmer

MASTERPIECES VIII KEES VAN DONGEN MAX ERNST ALEXEJ VON JAWLENSKY OTTO MUELLER EMIL NOLDE MAX PECHSTEIN OSKAR SCHLEMMER GALERIE THOMAS MASTERPIECES VIII GALERIE THOMAS CONTENTS ALEXEJ VON JAWLENSKY MAX ERNST STILL LIFE WITH JUG AND APPLES 1908 6 FEMMES TRAVERSANT UNE RIVIÈRE EN CRIANT 1927 52 PORTRAIT C. 191 616 ALEXEJ VON JAWLENSKY MAX PECHSTEIN HOUSE WITH PALM TREE 191 4 60 INTERIEUR 1922 22 OSKAR SCHLEMMER EMIL NOLDE ARCHITECTURAL SCULPTURE R 191 9 68 YOUNG FAMILY 1949 30 FIGURE ON GREY GROUND 1928 69 KEES VAN DONGEN ALEXEJ VON JAWLENSKY PORTRAIT DE FEMME BLONDE AU CHAPEAU C. 191 2 38 WOMAN IN RED BLOUSE 191 1 80 EMIL NOLDE OTTO MUELLER LANDSCAPE (PETERSEN II) 1924 44 PAIR OF RUSSIAN GIRLS 191 9 88 4 5 STILL LIFE WITH JUG AND APPLES 1908 ALEXEJ VON JAWLENSKY oil on cardboard Provenance 1908 Studio of the artist 23 x 26 3/4 in. Adolf Erbslöh signed lower right, Galerie Otto Stangl, Munich signed in Cyrillic and Private collection dated lower left Galerie Thomas, Munich Private collection Jawlensky 21 9 Exhibited Recorded in the artist’s Moderne Galerie, Munich 191 0. Neue Künstlervereinigung, II. Ausstellung. No. 45. photo archive with the title Galerie Paul Cassirer, Berlin 1911 . XIII. Jahrgang, VI. Ausstellung. ‘Nature morte’ Galerie Otto Stangl, Munich 1948. Alexej Jawlensky. Image (leaflet). Musée National d’Art Moderne, Paris; Haus der Kunst Munich, 1966. Le Fauvisme français et les débuts de l’Expressionisme allemand. No. 164, ill. p.233. Ganserhaus, Wasserburg 1979. Alexej von Jawlensky – Vom Abbild zum Urbild. No. 18, ill. p.55. Städtische Galerie im Lenbachhaus, Munich; Staatliche Kunsthalle Baden-Baden, 1983. Alexej von Jawlensky. No. 41, ill. p. 154. Palazzo Medici-Ricardi, Florence 1986. Capolavori dell’Espressionismo tedesco. No. 32, ill. Literature Fischer, O. Das Neue Bild, Veröffentlichung der neuen Künstlervereinigung München. Munich 191 2. Ill. Weiler, C. Alexej Jawlensky. Cologne 1959. No. 71 8, ill. p. 278. Jawlensky, M., Pieroni Jawlensky, L., Jawlensky, A. Alexej von Jawlensky Catalogue Raisonné of the Oil Paintings, Volume I 189 0-191 4. London 1991 . No. 21 9, p. 187, with ill. 8 STILL LIFE WITH JUG AND APPLES 1908 ALEXEJ VON JAWLENSKY ”Apples, trees, human faces are for me just indi - purples. Intensified by strong contrasts, colour takes cations for seeing something else in them: the life of on a pulsing life of its own within the bluish black colour, captured by a passionate person, a person contours of the fruit – metaphorically speaking, this in love.” is where the heart of the composition beats. Alexej von Jawlensky in a letter dated 1905 For lack of narrative and representative content, still Of all the painters who would be connected with the lifes have always required concentration on painterly Blauer Reiter, Alexei von Jawlensky studied the excecution. Consequently, they have been predes - French art of his day most intensively. From 1903 tined for reflections on the premises of the medium Jawlensky went to France regularly, primarily to Paris, as such and function as mirrors for the theoretical the art metropolis. Still Life with Jug and Apples convictions of their creators. When the late 19 th -cen - (1908) is unthinkable without a first-hand knowledge tury avant-gardes began again to explore the of contemporary French painting. relation ship between art and reality and proclaimed the autonomy of art, it was Paul Cézanne who re - A table, cut into on the left, extends virtually parallel defined the relationship between thing and image, to the picture edge against a surface modulated which had long been determined by the constraints purely by colour in vibrant orange tones. Covered of purely reproductive handling: painting, as he with a bluish cloth, it takes up much of the lower saw it, was an art parallel with nature. This was third of the picture. The still life as such is set on that Jawlensky’s aesthetic creed as well. After all, apart table: a purple jug with exquisite lines and two ele - from the dominant colour theme, Still Life with Jug gantly curved handles is flanked by a sketchily and Apples gives scope for observations pointing to drawn water glass with a saucer and a smaller Jawlensky’s investigation of the specific genre blue vase whose form echoes the gently flaring pro - problem and searchingly refers viewers to the purely file of the jug. In front of the vessels are two red- visual existence of his motif. When an apple in a cheeked apples and an orange; another apple on picture grows to a disproportionate scale in order to a larger scale is off to the right. The boldly contrast - function as a countervailing balance to the larger ing complementary colours yellowish orange and assemblage of fruits at the centre of the composition, bluish purple, which characterise the large surface the appearance of that apple does not follow nature of the tabletop and the background, determine the but rather an inner-pictorial logic. initial impression made by the picture. This colour spectac ular is enhanced on the central axis of the The emergence of pictorial qualities becomes picture, where the vibrant, densely painted colour evident in another place: in the lower right-hand orange asserts itself amid the surrounding blues and corner of the picture, where, as in many passages 10 ADOLF ERBSLÖH Alexej von Jawlensky of the painting, the ochre-coloured priming of the Nabis group of painters and for another 1907 Still Adolf Erbslöh was born in New York on 27 May Stilleben (Still Life) academy board remains visible, the painter loosely Life (fig. above right), Jawlensky has notably borrowed 1881, the son of a partner in a large export 1907 Jawlensky 178 juxtaposes his colour hatching in uniformly parallel Cézanne’s technique of closely applied ”packets of business. The family returned to Germany in 1887. brushwork. Only gradually does the colour condense colour”. After six months’ commercial training, Adolf Erbslöh Alexej von Jawlensky here into the stable surface of the table. Equally, the enrolled at the Karlsruhe Art Academy in 1901 to Stilleben mit Früchten close juxtaposition of extremely plastic elements such Jawlensky’s Still Life with Jug and Apples marks the study painting. There he met Alexander Kanoldt, Figur und Flasche (Still Life with Fruits, as the highlighted apples and extremely flat parts, end of a phase that lasted several years during with whom he remained friends for the rest of his Figure and Bottle) such as the decorated neck of the jug, turns out to which the artist experimented with the still life as life. 1907 be an optical illusion: painting functions here as genre. Building on the work of Cézanne and In 1904 Adolf Erbslöh transferred to the Munich Art Jawlensky 190 trompe l’œil that is consummate in execution. There, Matisse and inspired by the bold handling of colour Academy to continue his studies. Making the on the other hand, it is revealed as the material sub - practised by van Gogh, this painting, with its ele - acquaintance of Alexei von Jawlensky there gave Otto Fischer. Das Neue Bild, Veröffentlichung der neuen stance of pigment functioning qua sign on the two- gant pictorial tectonics and smouldering palette Erbslöh the crucial incentive for his further career. In Künstlervereinigung München. dimensional surface of the support. Thus each object marks a first high point in Jawlensky’s early still lifes. 1909 Erbslöh became the secretary of the Neue Munich 191 2 in the picture also refers to its artificial, ie, artistic, Here is experientially palpable what Jawlensky Künstlervereinigung München, of which he was a genesis. Paint on academy board – composed would later record in his Memoirs: ”In the still lifes founding member along with Kandinsky, Jawlensky, nature morte – the spectacle of living colour – these I did not seek matter in the object; rather I wanted Kanoldt, Münter, Werefkin et al. The Blauer Reiter are the factors that determine both the sensory and to express an inner pulsing through form and succeeded the NKVM. the reflective perception of Jawlensky’s pictorial colour.” In 191 4 Erbslöh was conscripted into the military creation. after travelling in Italy. He served on the Western Front as a battle painter until 191 8. He joined the Even in the early years after his arrival in Munich in Neue Sezession München in 191 6. 1896, Jawlensky produced mainly still lifes. From The 1920s saw Erbslöh travelling far and wide. the outset his aim was, as he put it, to attain ”har - From 1927, however, the painter spent most of his mony in colours”. After the early works, some of time on Lake Constance and in Upper Bavaria, where which were realistic while others tended towards he bought a house in 1934 in the Isar Valley. After Jugendstil/Art nouveau, the still lifes he did between a large-scale retrospective at the Barmen Kunstverein 1906 and 1908 reveal in the artist an ardent quest in 1931, little was heard of Erbslöh. Since he was for a distinctive style of his own. Jawlensky worked no longer able to show paintings and work publicly almost synchronously in a variety of styles. In the from 1933, the artist lived in retirement with his family background stand – more or less clearly from work in Irschenhausen, producing numerous portraits of to work – the French models. A 1907 Still Life with members of his family and friends. Unaffected by Fruits, Figure and Bottle (fig. above left) is, with its passing fads, Erbslöh is a leading exponent of dense, pastose handling of colour, reminiscent of the classic Modernism. 12 13 ALEXEJ VON JAWLENSKY TORSCHOK, RUSSIA 1864 –1941 WIESBADEN THE YEAR 1908 From 1896 Jawlensky lived in Munich, then the Jawlensky and Marianne Werefkin had spent some Alexej von Jawlensky centre of art in Germany.

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