Grosse Variation: Es stürmt

成交价英镑 300,000

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英镑 250,000 – 英镑 350,000

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Alexej von Jawlensky (1864-1941)

Grosse Variation: Es stürmt

成交价英镑 300,000

細明拍品专文

Alexej von Jawlensky (1864-1941)
Grosse Variation: Es stürmt
signed with the initials 'A.J.'(lower left); titled, dated and numbered '"Es stürmt" 1916 no. 14' (on the reverse)
oil on board
21 3/8 x 14¼ in. (54.3 x 36.2 cm.)
Painted in St. Prex in 1916

The artist's estate.
Private collection.
Galerie Alex Vömel, Dusseldorf, 1956-1982.
Private collection, Munich.

C. Weiler, Alexej von Jawlensky, Cologne, 1959, no. 623 (illustrated p. 271).
C. Weiler, Jawlensky: Heads, Faces, Meditations, London, 1970, no. 1203, p. 134.
Internationaler Kunstmarkt, Dusseldorf, 1982 (illustrated p. 256).
M. Jawlensky, L. Pieroni-Jawlensky & A. Jawlensky, Alexej von Jawlensky: Catalogue Raisonné of the Oil Paintings, Volume Two 1914-1933, London, 1992, no. 844, p. 167 (illustrated p. 144).

Dusseldorf, Galerie Alex Vömel, Alexej von Jawlensky, October - November 1956, no. 12.
Dusseldorf, Kunstverein für die Rheinlande und Westfalen, Alexej von Jawlensky, September 1957, no. 67; this exhibition later travelled to Hamburg, Kunstverein, October - November 1957 and Bremen, Kunsthalle, December 1957 - January 1958.
Stuttgart, Württembergischer Kunstverein, Alexej von Jawlensky, February - March 1958, no. 72; this exhibition later travelled to Mannheim, Städtische Kunsthalle, March - April 1958.
Berlin, Haus am Waldsee, Alexej von Jawlensky, November - December 1958, no. 41 (illustrated).
Frankfurt, Kunstverein, Alexej von Jawlensky, September - November 1967, no. 94 (illustrated); this exhibition later travelled to Hamburg, Kunstverein, October - December 1967.
Bonn, Museum Städtischer Kunstsammlungen, Alexej von Jawlensky, April - June 1971, no. 38.
Munich, Städtische Galerie im Lenbachhaus, February - April 1983, no. 130 (illustrated p. 233); this exhibition later travelled to Baden-Baden, Staatliche Kunsthalle, May - June 1983.

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拍品专文

'Just before the war I suffered a good deal of pain in my family life, and then the war came and we had to flee with everything we could carry to Switzerland, to a small village called Saint-Prex, on Lake Geneva near Morges. In our small apartment there, all I had to work in was a small room with a window. I wanted to go on painting my powerful pictures with their strong colours, but I felt I couldn'’t. My soul would not allow me to go on with this sensuous painting, although there was much beauty in my work. I felt that I had to find another language, a more spiritual language. That I felt in my soul. I sat at my window. In front of me I saw a path, a few trees, and from time to time, in the distance, a mountain.

'Then I began to seek a new path in art. It was hard work indeed. I knew that I must paint not what I saw, not even what I felt, but only what was in me, in my soul. Figuratively speaking, it was like this: in my heart I felt as if there were an organ, which I had to sound. And Nature, which I saw before me, only prompted me. And that was a key that unlocked this organ and made it sound. At first it was very difficult. But gradually I came to have no difficulty in finding through colour and form what was in my soul... I painted a great many pictures, which I called 'Variations on a Landscape Theme’.
'They are songs without words' (M. Jawlensky, L. Peroni-Jawlensky & A. Jawlensky, letter to Pater Willibrord Verkade, Wiesbaden, 12 June 1938, quoted in , London, 1991, p. 34).