Alexej Jawlensky – Heilandsgesicht: In der Liebe ist ewig was geistig ist (1919)
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Exhibition poster Heilandsgesicht: In der Liebe ist ewig was geistig ist 1919 with the work Heilandsgesicht: In der Liebe ist ewig was geistig ist 1919. Private Collection, by the painter Alexej Jawlensky, published in connection with Louisiana's exhibition in 2025.This is the period where Jawlensky increasingly turns to the portrait as a motif, which in his case takes on a colourful, stylized expression, where particularly large eyes stand out as a dominant factor.
Though closely associated with the European avant-garde movements at the beginning of the 20th century, the painter Alexej Jawlensky (1864-1941) seems to have found his very own artistic voice rather late in life. This exhibition focuses on Jawlensky's path towards a highly distinctive expression in the form of his small, beautiful and mysterious meditations devoted almost exclusively to painting the same subject over and over again; a face.
Alexej Jawlensky was born into a regimental family in Russia in 1864, and initially opted for a military career himself, which he, however, chose to abandon in favor of the arts. In 1889 he began studying at the art academy in St. Petersburg, where he met the painter Marianne von Werefkin, who became his partner and supporter for many years. Together, the couple moved to Munich, where Jawlensky attended a private painting school with, among others, Wassily Kandinsky.
The first chapter of the exhibition in fact focused on Jawlensky's connection to the art scene in Munich at the beginning of the 20th century. Together with Kandinsky, Gabriele Münter and Werefkin, he settled for a period in Murnau in Upper Bavaria and developed his highly expressive landscape paintings here.
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