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A head and shoulders portrait of a woman facing front against a blue and green background.

A portrait of a woman wearing an orange garment facing front. The face is simply drawn, short black hair frames a u-shaped face, the face, neck and shoulders are outlined in thick black lines. A loosely applied roughly shaped blocks of white and flesh-tone highlight the center of the forehead. Thick black arches form eyebrows over large almond shaped blue eyes with black centers also outlined in black. Thin black lines form a nose ending in a soft point. Thin red lips are outlined in thin black line. The top half of background is bright green, the bottom is blue.

Gallery Text

The Russian painter Jawlensky was a key figure among the expressionist artists in Munich who formed the Blaue Reiter group in 1911. Seeking to infuse their art with spiritual feeling in a materialistic age, the expressionists employed vibrant, non-naturalistic colors, which they applied to the canvas in thick, expressive brushstrokes. Head of a Woman (BR51.267) exemplifies Jawlensky’s work from this period while reflecting his increasing preoccupation with the subject of the human face, in which he believed “the whole universe is revealed.” Painted more than a decade later, Composition No. 1, Sunrise (BR65.37) is part of his series Abstract Heads, in which the face is greatly simplified, becoming a kind of geometric template. Although the colors are still brilliant, the paint is now thinly and precisely applied. Often compared to Russian religious icons, these heads are no longer portraits but meditations on spiritual concerns, emotions, natural elements, and times of day.

Like other paintings in this gallery, these works were recently reframed to reflect the artist’s historical choices. The black period frame is similar to those favored by Jawlensky, while the other is an exact replica of a “Vinecky frame,” named after the sculptor Josef Vinecky, who designed them with the painter. While many expressionist artists chose simple frame profiles, either painted black or sometimes with a gold-bronze finish, Jawlensky’s selection of a more ornamental molding is a surprising choice given the simplicity of his abstracted composition.

Identification and Creation

Object Number
BR51.267
People
Alexei von Jawlensky, Russian (Torzhok, Russia 1864 - 1941 Wiesbaden, Germany)
Title
Head of a Woman
Other Titles
Original Language Title: Frauenportrait
Classification
Paintings
Work Type
painting
Date
c. 1911
Culture
German
Persistent Link
https://hvrd.art/o/225206

Location

Location
Level 1, Room 1500, Modern and Contemporary Art, Art in Germany Between the Wars
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Physical Descriptions

Medium
Oil on cardboard
Dimensions
43.1 x 32.3 cm (16 15/16 x 12 11/16 in.)
framed: 54 x 43.4 x 2 cm (21 1/4 x 17 1/16 x 13/16 in.)
Inscriptions and Marks
  • Signed: in oil at l.l.: A.j.

Provenance

Recorded Ownership History
Frau Hanna Becker vom Rath, Frankfurt, sold?; to Charles L. Kuhn, 1951, gift; to Busch-Reisinger Museum, 1951.

Acquisition and Rights

Credit Line
Harvard Art Museums/Busch-Reisinger Museum, Anonymous Gift
Copyright
© Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn
Accession Year
1951
Object Number
BR51.267
Division
Modern and Contemporary Art
Contact
am_moderncontemporary@harvard.edu
Permissions

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Descriptions

Description
There is a painting of seated woman on the verso of "Head of a Woman." According to the catalogue raisonne, this overpainted image on the verso dates to c. 1908-09.

Publication History

  • Charles Werner Haxthausen, The Busch-Reisinger Museum, Harvard University, Abbeville Press (New York, NY, 1980), p. 38, repr.
  • Kristin A. Mortimer and William G. Klingelhofer, Harvard University Art Museums: A Guide to the Collections, Harvard University Art Museums and Abbeville Press (Cambridge and New York, 1986), no. 370, p. 310, repr.
  • Maria Jawlensky and Lucia Pieroni-Jawlensky, Alexej von Jawlensky : catalogue raisonné of the oil paintings, vol. 1, Sotheby's Publications (London, 1991-1998), cat. no. 402
  • Peter Nisbet and Joseph Koerner, The Busch-Reisinger Museum, Harvard University Art Museums, ed. Peter Nisbet, Harvard University Art Museums and Scala Publishers Ltd. (Cambridge, MA and London, England, 2007), p. 164

Exhibition History

  • Artists of the Blaue Reiter: Exhibition of Painting and Graphic Works, Busch-Reisinger Museum, 01/21/1955 - 02/24/1955
  • Works from the 20th Century Collection of the Busch-Reisinger, National Gallery of Art, Washington, 06/15/1980 - 09/01/1980; Wildenstein Gallery, New York, New York, 09/23/1980 - 10/24/1980
  • 20th-Century Works on Paper from the Permanent Collection, Busch-Reisinger Museum, Cambridge, 09/07/1981 - 11/11/1981
  • 19th- and 20th-Century Works on Paper from the Permanent Collection, Busch-Reisinger Museum, Cambridge, 02/08/1982
  • Deutsche Kunst des 20. Jahrhunderts aus dem Busch-Reisinger Museum, Stadtische Galerie im Stadelschen Kunstinstitut, Frankfurt, 10/23/1982 - 01/16/1983; Bauhaus-Archiv, Berlin 30, 02/10/1983 - 04/17/1983; Kunstmuseum Düsseldorf, Düsseldorf, 05/08/1983 - 06/26/1983
  • German Painting 1760-1960: A New Installation, Busch-Reisinger Museum, Cambridge, 12/20/1983 - 02/19/1984
  • 32Q: 1500 Art in Germany Between the Wars (Expressionism-Interwar), Harvard Art Museums, Cambridge, 11/16/2014 - 01/01/2050

Verification Level

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of Modern and Contemporary Art at am_moderncontemporary@harvard.edu