Alexej von Jawlensky

Alexej von Jawlensky 1864 - 1941 Heilandsgesicht ”Einkehr”. 1918. Oil on canvas-structured paper, mounted on cardboard, mounted on panel. Monogrammed in the lower right corner. Signed, dated, and titled “Heilandsgesicht” on the reverse side of the cardboard. Here titled “Einkehr” by Andreas Jawlensky. Inscribed and titled again by Andreas Jawlensky on the wooden backing on the reverse. This work is mentioned on page 70 in the so-called Cahier Noir, which the artist compiled together with his secretary Lisa Kümmel in 1934. 36 x 28 cm (14.1 x 11 in). • PROVENANCE Acquired from the estate in 1974; part of a family collection ever since. • SAVIOR'S FACE – CONTEMPLATION inner contemplation; the gentle expression conveys spiritual serenity and inner peace. • HIGHLIGHT In the Savior's Face, Jawlensky crystallizes his quest for a spiritual pictorial form • MUSEUM QUALITY Works from the series are at, among others, the Museum Wiesbaden, the Lenbachhaus in Munich, the Los Angeles County Museum of Art, and the Galka Scheyer Collection at the Norton Simon Museum in Pasadena. We are grateful to the Museum Wiesbaden for the kind assistance. PROVENANCE: From the artist’s estate Galerie Grosshennig, Düsseldorf, (1968, on consignment from the above) Private collection, Rhineland (1974, in the family’s possession ever since). EXHIBITION: Alexej von Jawlensky, Städtische Galerie im Lenbachhaus, Munich, July 17–September 13, 1964, cat. no. 105. Ausstellung deutscher und französischer Meisterwerke des 20. Jahrhunderts. Gemälde, Plastik, Aquarelle, Handzeichnungen, Galerie Wilhelm Grosshennig, Düsseldorf, Nov. 10, 1968–Jan. 31, 1969, p. 58 (illustrated in color). Kunst aus Krefelder Sammlungen in Haus Greiffenhorst 1904 -1974, Kunstverein Krefeld, Oct. 20.-Nov. 20, 1974, cat. no. 152. Wolfgang Wittrock Kunsthandel, Düsseldorf 1986, no.23, col.ill. Galerie Thomas, Munich (with a label on the reverse, before 1993). Jawlensky in der Schweiz / Jawlensky en Suisse, Kunsthaus Zürich, October 27, 2000–January 14, 2001, / Fondation de l’Hérimitage, Lausanne, January 26–May 13, 2001, Cat. No. 201 (each with a label on the reverse of the frame cover). LITERATURE: Maria Jawlensky, Lucia Pieroni-Jawlensky, Angelica Jawlensky, Alexej von Jawlensky. Catalogue Raisonné of the Oil Paintings, vol. 2: 1914–1933, Munich 1992, CR no. 991 (illustrated in color on p. 247) Clemens Weiler, Alexej Jawlensky, Cologne 1959, no. 248, ill. on p. 245. - - Clemens Weiler, Alexej Jawlensky. Köpfe, Gesichte, Meditationen, Hanau 1970, cat. no. 143, (illustrated in color on p. 247). Angelika Affentranger-Kirchrath, Jawlensky. Das andere Gesicht, Bern, 2000, illustrated in color on p. 109. Mirna Rudan Lisak, Apstraktna reproduktivna kao produktivna umjetnost. Kromatske fantazije skladatelja Aleksandra Skrjabina, slikara Alekseja Javljenskoga i pijanista Ive Pogorelica, Zagreb, 2015, illustrated in color on p. 114. "I understood that the artist, through his art, must express through forms and colors what is divine within him. That is why the work of art is a visible god, and art is a longing for God.“ Alexej von Jawlensky, in: exhibition catalog Alexej von Jawlensky, Lenbachhaus Munich/Staatliche Kunsthalle Baden-Baden 1983, p. 28. Called up: December 4, 2026 - ca. 17.02 h +/- 20 min.

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