Exhibition in Geneva
In the Geneva museum Rath exhibition Alexej von Jawlensky, 1864 - 1941 has come to the end. In comparison with the German exhibition of last year, it is the fullest retrospective show of the Russian artist Alexey Javlensky belonging stories of art of Germany, France and Switzerland.
Alexey Javlensky, known to the world as Alexej von Jawlensky, was born in Russia, has died in Germany. It did not belong to the emigrants running from revolution. Russia prepared for it military career, he searched for open-cast mines art. The son of the colonel of imperial army, Javlensky was fond of painting from 16 years, but in 18 years has been given to military school. Having ended it in 1895 in a rank of the lieutenant, he was given assignment to St.-Petersburg and could visit, at last, an evening school in Academy of Arts.
therefore departure in 1896 to Munich was search of art freedom. This freedom Javlensky has found to the full. Pre-war Europe has been opened. It gets acquainted with Berlin Setsessionom, in 1905 Dyagilev helps it to be exposed on Salon d ` Automne in Paris, in 1907 Javlensky worked in France in Matisse`s workshop, in 1909 - together with Kandinsky became one of founders of New academy of artists of Munich (Neue - Kunstler Vereingung Munchen). This year of birth of international art with capital in Paris, Russian, German, Italian colonies, was, possibly, the happiest in its work. 1914 has forced the artist to take cover in neutral Switzerland.
it has returned to Germany after war. With 1929 the progressing arthritis gradually deprived of its possibility to work. Even the brush to it should be held two hands. It on - former had admirers, and metsenatka Hanna Bekker a background of Rat has organised to help, Association Javlensky.
He has ceased to draw from life and has passed to the meditative painting: To mystical heads, Abstract heads. But Germany more and more became not the most favorable field for art meditations.
in 1933 nazis have forbidden an exhibition Javlensky. The artist has got to black lists, for an origin, cosmopolitism and propensity to metaphysics. Last time in fascist Germany its confiscated works have been shown at the well-known exhibition “ Degenerate art “. But Javlensky could not see them even if would want. In 1937 to year he could not leave the house any more. Shock and illness have led its year later to a full paralysis, but the artist has obstinately lived till 70 years. He has died on March, 15th, 1941 and has been buried on an orthodox cemetery in Wiesbaden.
museum Rath has built an exposition, as well as it is necessary, monograficheski, having shown all periods of the creativity, all genres in which Javlensky worked, in detail having presented not only its art, but also the personal biography. Here portraits of with whom it of all was more close have been shown. They are three persons. Artist Maryanna Vladimirovna Verevkina who also has become in Germany, certainly Marianne von Werefkin - he has got acquainted with it in Ilya Repin class. Elena Neznakomova - together with it it has left Russia. Javlensky in 1921 has left Maryanna and in 1925 married Elena. Alexander Saharova`s portrait (" is remarkable also; it is poisonous - painful, spoilt, perverted, womanly “ - such has remembered its Ternovets), the dancer of ballet who Javlensky has met in 1908.
Its happy ability to be fond simultaneously many and much as well as possible reveals at an art exhibition. Javlensky was exemplary “ the painter “ in sense of the susceptibility and an openness to influences. Its art novels and changes are marvellously obvious, he falls in love with a manner of this or that master and works “ together with it “ to full disappointment. In the landscapes he is Van Gogh (Dort in Bayern, 1907), in the still-lifes that Matisse (Stilleben mit gelber Decke, 1910), Cezanne (Stilleben mit Fruchten, Krug und roter Decke, 1911). The portrait of the woman from Turkestan (Frau aus Turkestan, 1912) will remind Jakulova. In general walk on halls of museum Rath is similar to excursion on stories of vanguard painting of first half of XX-th century. For wishing to flash the observation of the spectator the exhibition gave exclusive possibilities: under the biographic data it was possible to check that as so it was appreciable in pictures and drawings. Under the schedule it was possible to judge acquaintance to Arhipenko. On early portraits - about meetings with Van Dongenom.
Every time when Javlensky was engaged in painting, it inevitably got under someone`s influence. But before it took a brush in hands, it was quite independent - magnificent preparatory sketches testify to it a pencil and a feather where colours are defined only by inscriptions.
it is possible, feeling it, Javlensky fairly tried to find the, instead of to follow on the way of sound, decorative, colour painting laid by others. In Abstract heads (Abstrakte Kopfe) and Mystical heads (Mystische Kopfe) he searched for a certain formula of the person, its addition from simple lines and almost open colours, something similar to construction of the person on the Byzantian and Russian icon. But attempts to create own theories were not too successful, moreover, in it he also was in the fashion on artists - theorists. A series “ Meditations “ will remind Malevich and in this sense Grosse Meditation does not differ from simple Meditation.
In the course of time changed not only its shape, not only a letter manner, but also its relation to and to art. On self-portraits of the beginning of the century it is wide and strong, and its eyes, as well as it is necessary to the artist, look at the spectator vzyskujushche. Its last self-portrait: the small pencil sketch on the faded dark paper - is terrible. The four-eyes toad looks out of an oval of a small pocket mirror. If only not to attribute this metamorphosis to its influence long-term znakomtsa George Grossa.
ALEXEY - TARHANOV