Asta: 540 / Evening Sale del 09 giugno 2023 a Monaco di Baviera Lot 23

 

23
Alexej von Jawlensky
Garten in Carantec, 1906.
Olio su cartone
Stima:
€ 100,000 / $ 108,000
Risultato:
€ 558,800 / $ 603,504

( commissione inclusa)
Garten in Carantec. 1906.
Oil on cardboard.
Jawlensky/Pieroni-Jawlensky 150. Signed in lower right, with the crosed-out inscription "N. 6" on the reverse. Here with date, title and inscription "106 Garten Caranto". 49,5 49.3 x 52.5 cm (19.4 x 20.6 in).

• A work with exuberant colors.
• Rare and early painting in the artist's œuvre.
• Made in an airy pointillist flow with an expressive color scheme in the Breton town of Carantec.
• The artist found inspiration in his immediate surroundings and rendered his impressions, as well as his personal sensation, in a sophisticated and striking composition.
• Other works from the important time in Carantec are in the Pinakothek der Moderne, Munich ("Küste bei Carantec" and "Landschaft aus Carantec mit Frau"), and the Albertina in Vienna ("Kornfeld bei Carantec")
- Consitent provenance.

PROVENANCE: Artist's studio.
Adolf Elnain Collection (1877-1945), the Wiesbaden photographer was a friend of expressionists like Wassily Kandinsky and Alexej Jawlensky.
Hanna Elnain Collection (inherited from the above in 1945, until 1960: Stuttgarter Kunstkabinett).
Private collection Southern Germany (acquired from the above in 1960).
Ever since family-owned.

EXHIBITION: Jawlensky Collective exhibition, travelling exhibition Berlin, Wiesbaden and other places, cat. no. 91 (here titled "Büsche in Caranto").
L'Espressionismo. Pittura, scultura, architettura, Palazzo Strozzi, Florence, May/June 1964, cat. no. 96, illu. on p. 53.

LITERATURE: Stuttgarter Kunstkabinett Roman Norbert Ketterer, 35th auction Modern Art Part 1, May 20/21, 1960, lot 217, (with color plate 20).

Together with Marianne von Werefkin, Jawlensky lived in Munich as of 1896, where he attended Anton Azbé's painting school before he set out on a quest for his own style. In the following years, he traveled extensively, both within Germany as well as abroad. On his journeys he painted a lot and met other artists at exhibitions, consciously looking for the possibilities of a personal form of expression. In 1903, he visited France for the first time. In his memoirs, he mentions two stays in Carantec, however, only one stay in the Breton village on a peninsula north-west of Brest in 1906 is reliably documented in Jawlensky's letters. The works created there all show the strong impact of van Gogh's art on Alexej von Jawlensky. Directly influenced by his brushwork, he experimented with the multitude of creative possibilities short brushstrokes had to offer. While Carantec is known for its beautiful beaches today, the few paintings by Jawlensky that can be clearly ascribed to the Carantec period, show that Jawlensky primarily absorbed and processed other impressions. It was the landscape and not the sea that he put focus on. The motion of light and wind in the fields, plants and clouds takes center stages in his depiction. Within the small group of works created there, our painting stands out like a solitaire. It is characterized by a strong emotional value. The subtly placed brushstrokes no longer make for order and structure of the composition, instead they create the greatest possible expressiveness. It is a brilliant display of exuberant forms and colors with which Alexej von Jawlensky eventually made the decisive step in conveying feelings through color. [EH]



23
Alexej von Jawlensky
Garten in Carantec, 1906.
Olio su cartone
Stima:
€ 100,000 / $ 108,000
Risultato:
€ 558,800 / $ 603,504

( commissione inclusa)