Alexej von JAWLENSKY (1864-1941)Jew at Prayer, 1891Oil on canvas with inscriptions, signature, date and annotations on the back.87 x 68 cmIn a gilded wooden baguette frame. Certificate of authenticity issued on May 20, 2021 by the Jawlensky-Archiv. Provenance: Collection of Dr. Leifer by descent.Lost for over a hundred years, this work by Alexej von Jawlensky remained known thanks to two archive photos widely published in reference works. They show Alexej von Jawlensky, seated in a studio, in front of this painting in progress, with his friend Marianne Werefkin standing beside him. In these photographs, dated in the archives to around 1893, the painting is clearly recognizable. However, until 2020, it was still unknown and unlocated. While the influence of the Russian master Ilia Repine hovers over the young years of a Jawlensky consumed by the desire to paint, the discovery of this painting, kept in a private collection in Bayonne for almost 80 years, highlights the European trajectory of this color revolutionary. Born into a Russian military aristocratic family, Jawlensky was naturally drawn to this career. He climbed the ladder with success, but deep inside, the urge to paint grew stronger and stronger as he became more independent. Jawlensky pushed open the doors of St. Petersburg's exhibitions, studios and art circles. He joined the studio of Ilia Repine, a prestigious master of late 19th-century Russian painting. His enthusiasm for creation and his talent soon drew attention to him. Repine introduced him to Marianne Werefkin. A young woman of character, a few years his senior, she was the great master's favorite pupil. The two young artists developed a deep bond. Marianne Werefkin encouraged him to paint always, everywhere. Coming from a wealthy family, she took the young Alexej with her to her classes, her studio and her home in the countryside to practice. In the summer of 1893, during a stay at Werefkin's "dacha", the two young artists visited the shtetls, the Jewish villages south of Moscow. Jawlensky produced a series of portraits of the inhabitants and old rabbis. The painting presented here is part of this series. At the time, portraiture was certainly one of the most fashionable genres. The initial format of the canvas might have suggested a full-length portrait. Like most of Jawlensky's work from this period, it remained partially unfinished. The canvas was cut at the bottom, without taking any power away from the work, but allowing for easier circulation. The long beard, the talit on the shoulders and the book sketched in the hands confirm the character's identity. Although a few repeats obscure the candle flame, the captivating gaze of the old Jew at prayer reveals both the surprise of a man caught in a moment of introspection, and the vivacity of a spirit. This luminous gaze contrasts with the weight of the years and the thickness of the jacket and prayer shawl on the shoulders of an old man, perhaps a rabbi, whose people's history resonates with the harshness of the climate and hostile times. In a few touches of color, green and mauve on a cameo of brown, this gaze awakens the portrait and echoes the candle's flame. While there is still a long way to go towards the revolutionary expressionism of Münich and Murnau in the 1900s, the liveliness of the brushstrokes still owes much to the legacy of the teachings of Repine and Werefkin. The break with color is still a long way off. On the back, the horizontal bar of the stretcher divides the canvas into two parts. The upper part still reveals the trace of a large Alexej von Jawlensky signature. The lower part reveals a wealth of information: Prof. Ilja Repin (in Latin), Vera Repina and Jurij Repin (in Cyrillic, names of Repin's wife and son) and Alexei Georgevitch Jawlensky / talented pupil of Ilya Repin and well-known artist in Paris. This work was created around 1891 (in Cyrillic). Repine's legacy is underlined by words that are probably those of his son Yuri Repine. At the time, Repine's fame was far greater than that of Jawlensky, who had not yet produced the Expressionist revolution. Whether sent from Ilia's studio by his son Yuri, or directly by Jawlensky and Werefkin, the painting probably arrived in Western Europe and France around 1900. The painting was found in Bayonne in the private collection of Doctor Leifer. [see PDF catalogue]
We use cookies to provide you with a better browsing experience, perform site traffic analysis, and deliver content and advertisements most relevant to your interests.
Cookie management:
By allowing these cookies, you agree to the deposit, reading and use of tracking technologies necessary for their proper functioning. Read more about our privacy policy.