by Ulrike Fischer, Heike Stege, Daniel Oggenfuss, Cornelia Tilenschi, Susanne Willisch and
Iris Winkelmeyer
This article was presented at the IIC congress The Object in Context: Crossing Conservation Boundaries in Munich, 2006.
Abstract
The Russian painter Alexej Jawlensky, who worked in Munich between 1896 and 1914, was an important representative of Expressionism and abstract art in Germany. He was involved with the artistic group Der Blaue Reiter, whose members shared not only ideas about art but also an interest in questions of painting technique and painting materials. This paper aims to illuminate the working process of Jawlensky through research into the characteristics of his painting technique. It examines the paint supports and painting materials in specific works of art from Jawlensky’s Munich period. This technical examination, together with the evaluation of written sources reveals the manifold artistic and technological influences that contributed to the development and peculiarities of Jawlensky’s art. Comparisons with selected works by Wassily Kandinsky and Gabriele Münter show the strong influence Jawlensky’s painting technique had on his artist friends, especially in the years 1908–1909.
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FISCHER, U. et al. Alexej Jawlensky's Painting Technique in his Munich Oevre
Important copyright information
This article was presented at the IIC congress The Object in Context: Crossing Conservation Boundaries in Munich, 2006. The text was first published in the IIC 2006 congress preceedings. The permission to publish this article on the INCCA website has kindly been given by the IIC. This abstract may only be downloaded for personal use. It may not be redistributed. Permission for redistribution must be requested from IIC.