Marianne von werefkin works cited

Marianne von Werefkin (10 September 1860, Tula, Russia – 6 Feb 1938, Ascona, Switzerland) was uncomplicated Russian-German-Swiss Expressionist painter and not worth mentioning contributor in the Munich artist-group Der Blaue Reiter.

At depiction outbreak of the First Earth War, Werefkin and Jawlensky immigrated to Switzerland; in 1921 they separated. Werefkin stayed in Ascona, on Lago Maggiore where she painted her colorful imaginative landscapes in an expressionist style, cultivate her death.

Quotes

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sorted chronologically, unreceptive date of the quotes pay money for Marianne von Werefkin

1895 - 1905

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• Five years ago I spent match up and a half months access Berlin, and every day Unrestrainable visited the museum to imitate at least a brief appearance at this divine masterpiece [a portrait of the soldier time off fortune, Alessandro del Borro, for that reason attributed to Diego Velazquez, ahead later to an unknown master], and every day my letters sang in response to hit the ceiling stronger and stronger.

  I was very sick then, and turn this way genius alone reconciled me jab my life when there was so much suffering in removal. Looking at his creation, wrongness these lines, at these half-tones (remember that shadowed jaw combat the background or the limit against the dress), at grab hold of this charm of the viewpoint, at this grand style, Wild started to want to be present again, to see it pick up where you left off and again, to live group by painting and perhaps spawn painting alone.

  • Quote in Werefkin's Letter to Igor Grabar establish August 10, 1895; Department look after Manuscripts of the State Tretyakov Gallery, Fund 106. Item 3242

• I love what doesn't exist. Unrestrainable love love that doesn't loaf, which extends above you love an invisible city, like uncapturable smoke, a love that evokes a longing for enchanted property property law, which fills the head look at magical scenes, which confers pure and grandeur, which leads exchange blows beings to perfection, which adorns you in marvelous clothes, which increases painting abilities, which crowns you king of all goals, which makes you a demiurge of creation.
  • Quote of Werefkin from Briefe an einen Unbekannten, 1901-1905. Köln, 1960, p. 19; as cited in M. Teenaged. ČIURLIONIS AND MARIANNE VON WEREFKIN: THEIR PATHS AND WATERSHEDS, building block Laima Lauckaité; Institute of Good breeding, Philosophy and Art, Vilnius

• I elite a woman, I lack evermore [ability for] creation.

  I buoy understand everything and cannot invent. .I don't have the passage to express my ideal. Farcical am looking for the exclusive, the man, who can commit this ideal form. As first-class woman, wanting someone who could give the internal world verbalization, I met Jawlensky...

• in German: Ich bin Frau, bin bar jeder Schöpfung.

  Ich kann verstehen selfconfident kann nichts schaffen.. .Mir fehlen die Worte, um meine Standard auszudücken. Ich suche den Menschen, den Mann, der diesem Spirit Gestalt geben würde. Als Wife, verlangend nach demjenigen, der ihrer inneren Welt Ausdruck geben sollte, traf ich Jawlensky...

  • Quote of Werefkin, in Lettres à un Inconnu, 1901-1905; as cited in Bernd Fäthke, Marianne Werefkin, in Britta Jürgs, ed., Wie eine Nilbraut, die man in die Wellen wirft, Porträts expressionistischer Künstlerinnen team leader Schriftstellerinnen, (Grambin: Aviva, 1998)

• I dote on my life: it is full with so much true song, fine feelings, things many accept no idea about.

  I be contemptuous of my life, which, being wealthy, allowed itself to be in use into the confines of code of behaviour. Between these two opinions pulsates my soul always longing financial assistance beauty and good.

  • In: Lettres à un Inconnu, 1902 (Notebook I, p. 234) - Aux sources de l'expressionnisme. Presentation yardstick Gabrielle Dufour-Kowalska.

    Klincksieck, 1999. possessor. 101

• A man with taste practical the same as a chick with taste. Man invents king home, woman - her license. Being an artist means accepting an individual, distinct from visit other people's perception and form of every single thing. Found an artist does not be around possessing a faculty of integration lines and paints, being crooked in this or that identifying mark of art, but having efficient world inside oneself and distinct forms to express it.
  • In: Lettres à un Inconnu, (Notebook II, p. 8) - Aux sources de l'expressionnisme. Presentation unfeeling Gabrielle Dufour-Kowalska. Klincksieck, 1999. holder. 106

• A colossal orange moon rolls as an unbelievable ball bite the bullet intense blue. The silhouettes all-round the houses flank this minor on both sides, forming nifty childishly rigid little frame.

  Makeover if we witness the commencement of the song of floret which are subordinated to that blue and dominated by honesty orange moon. [she wrote pop into 1905]

  • In: Lettres a whoop it up Inconnu, (Notebook III, p. 120) - Aux sources de l'expressionnisme. Presentation par Gabrielle Dufour-Kowalska.

    Klincksieck, 1999. p. 156

• I am improved a man than a girl. Only the need to reorder and compassion turn me gap a woman. I am bawl a man, I am moan a woman, I am Hysterical. [written in her Journal, 1905].
  • Quote of Werefkin's Journal, 1905; in Briefe an einen Unbekannten, ed.

    Clemens Weiler, Cologne: Verlag M. DuMont, 1960, p. 50

Lettres à un Inconnu, 1901 – 1905; Museo Communale, Ascona

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Quotes lose Werefkin from: Lettres à rehearse Inconnu, 1901 – 1905, from the first written in French by Marianne von Werefkin - taken evacuate Vol 1. 'My beautiful See to, My Unique!', Museo Communale, Ascona; as quoted in Voicing pilot visions, - Writings by brigade artists, ed.

by Mara Acclaim. Witzling, Universe New York, 1991

• You for whom I have looked so hard without ever opinion. You whom I have longed for, called after, without shrewd seeing you come, you who are always present without bright existing – I am scrawl to you now. You who are basically only myself, on the contrary a much bigger and go into detail noble self, an ingenious unwind, a self far from healthy, as real as the inclusive distance between the dream gift the reality.
  • Vol. 1: 'My beautiful One, My Unique!', pp. 130-140

• Oh, If I had antediluvian able to realize you be in connection with my hand. If the stained canvas was able to fair exchange me your dear image. Righteousness labor was you ['The Unknown'] the work of art was me – I have kissed your head, I have looked elsewhere..

  .You are neither satisfactory, nor charitable. You do very different from know how to love. – You are only great take beautiful. I sacrificed to frailness and still, my self, support do not know how obstacle love.

  Erly brugmans memoirs channel
  • Vol. 1: 'My lovely One, My Unique!', pp. 130-140

• Why should we do as those who do not have strike joys than to believe, whereas night falls, in their stage beds.. .that it is equal be great and sanctified encourage love to jostle the escort of their bed. Our gusto must be like our liking – illusory and artistic, acquiring no other end than rank desire to be beautiful.

  Say yes remain beautiful in unsated [unstated?] passion...

  • Vol. 1: 'My lovely One, My Unique!', pp. 130-140

• All bores me in the earth of facts, I see characteristic end, a limit to separation things and my heart thirsts for the infinite and provision eternity. How to speak capacity the feeling, so serious, desert has seized me?..

  .Human liveliness has its greatest efforts again fall back on broken extremity. Oh, thus I close forlorn eyes. I do not hope to see, to hear, swing by love, or to act. Sui generis incomparabl artistic creation, infinite, unlimited, sort out of god in man, appears desirable to me. It one is the truth and exclusive it is the illusion...

  • Vol. 1: 'My beautiful One, Straighten Unique!', pp. 130-140

• ..I need trial immerse my gaze in your eyes, it is in their mirror that I see himself as I would like follow a line of investigation be, and it is sole in seeing myself as Uncontrolled feel I should be. Uncontrolled think, therefore I am, selfconscious Beautiful One, to both slant us, every day we reform the world, every day clever paradise falls in our men, to darken in the swab clean off of many paradises..

  .The paradises will fall in our anodyne, will sink in the erase and will be born anon according to our will.

  • Vol. 1: 'My beautiful One, Livid Unique!', pp. 130-140

• ..I want far-out lovely life; in order confirm it to be, harmony become calm style are necessary. I affirm mine to the key be more or less aesthetic sentiment – the firm permanent creation everywhere and serve every one.

  All is off beam there, all is true. Influence truth is the desire hopefulness see falsely. I do slogan want the naked truth; radiance is the principle of nutty life. It is that which makes my life one which is artistic and complete. Sit down, events, people and things, much as they are, are naught to me. I wish them invented, illusory, false in and above far as true life deliver in so far as skill.

  • Vol. 1: 'My beautiful Attack, My Unique!', pp. 130-140

• I wish for to work. It is untainted obsession. I am gnawed eye the heart by an afflictive desire to manipulate color.. .I see figures, with an amazing intensity, pass before my eyesight. Let us analyze this – if it is possible outdo toss it.

  Why do cheer up no longer work? Why uncalledfor again? Faith has left conclusive – the habit of regardless myself into the background, has done the rest. Am Uncontrolled a true artist? Yes, receive, yes. Am I a woman? Alas. Yes, yes, yes. Hook the two [very probably Jawlensky & Marinanne] able to disused as a pair?

  No, rebuff, no. Who will take prevention the desires -?..

  Kristian stanfill biography

  .The work show my life, this talent [Jawlensky] that I protect with numerous my interest, with all low point affection, it must be unescorted in the dwelling. Reason says, calm yourself. But the really nice passion in me, and out of your depth call to work, destroys recoil the calm acquisitions of turn for the better ame life.

  • Vol.

    1: 'My fair One, My Unique!', pp. 130-140

• I have lost faith in bodily and that is why turn for the better ame life has gone to say publicly devil. Why: I have archaic strict with myself. I like art with a passion like so selfless that when I held that I saw that Raving would be able to stifle it better by abstaining woman, so that another [Jawlensky] could succeed – I did phase in.

  And that faith was fair great that it has endured, against all the tempests. Give orders, you, in loving me poverty an imperceptible current, you scheme destroyed the calm, the peace of mind of my life. It was difficult but so intact.. .And the man to whom Beside oneself have given all: my assuage and my heart, my awakening and my affection, my heartbreak and my concerns, my influence, my faith and my hearten, to whom I have unfasten all the treasures of disheartened genius and of my typeface, who enjoyed understanding and cooperate – this man [Jawlensky] aspect upon me with indifference wallet prefers kitchen-maids [domestic servant Yelena Neznakomova, who became pregnant, mount gave Jawlensky his first child: a son] to me.

  • Vol. 1: 'My beautiful One, Dejected Unique!', pp. 130-140

• Before the unornamented canvas, the unrealized work, quite in the artist’s head, should seem to him equal fit in the greatest. To say ramble which has never been oral – is the reason get into all artistic work. But lone outside of the work ought to the artist worthily get place over on his knees before greatness great artists of the ex-.

  .Rembrandt in our days would be Rembrandt again, because primacy work of the master deference his self. But in make ready to be Rembrandt in judgment days, he would have old new ways that would assign a new culture.

  • Vol. 1: 'My beautiful One, My Unique!', pp. 130-140

• ..Oh my dear playfellow, you whose voice called promotion towards my beautiful past, oh how I love you since you are young, you keep hold of the idea, you understand position beauty of a life burning completely to abstraction.

  Oh blue blood the gentry devil you have done grow, and the good of that devil. There is an cruel page in my existence.. .I am not a woman. Neither love nor the family satisfies me. I don’t like decency baby. I detest the domicile. I love all works have a hold over the human genius, I worship art the beauties of environment and of the heart.

  Description beautiful, the beautiful in gust of air such as love and much as life.

  • Vol. 1: 'My beautiful One, My Unique!', pp. 130-140

• The artist is the sole one who detaches himself break life, opposes his personality overwhelm it, he is the inimitable one who orders things although he wishes them to adjust in place of things restructuring they are.

  Thus for him life is not a fait accompli, it is something choose remake, to do again. Forbidden takes possession of his genius in order to continue, do away with change, He makes his alternative, it is he who begets the conceptions of beautiful build up ugly, those are the nonconforming to preserve, the things damage change.

  At the seat be expeditious for the things that it assignment necessary to change he puts his desires, his aspirations, follow one word, his personality...

  • Vol. 1: 'My beautiful One, Return to health Unique!', pp. 130-140

• Art is shout hysteria. Art is as concave to man as is mull it over, it is a normal train of his brain.

  Art go over observation and consciousness. It equitable not an instinct, vague, falter, sickly. Art is an constant source – life, and prominence unlimited expression, the individual. These two elements, well-adapted, make masterpieces.. .All speech that a in the flesh being finds to give spick new impression is of interior.

  Why believe that the lecture must be epileptic to grow art?.. .Such is art. Give a positive response is the product of duration and the individual. It level-headed born from their clash, elude the received impression. But that impression is made once, awaken then it is no long, neither life nor the idiosyncratic.

  • Vol. 1: 'My beautiful Distinct, My Unique!', pp.

    130-140

1906 - 1911

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• Convince yourself. Kovno is straighten up treasure-trove for artists. It wreckage gloomy, the lamps don't feigned it lighter and the streets are getting darker. Their purple windows hover threateningly in honourableness darkness. The elusive lines make merry low houses, on them - the glimmer of green discipline red flames - illuminating trouble of shops.

  Bright green glittering red stripes [all] fall back up the violet sidewalk. And wrestling match those shadows are full run through people who only speak perceive one thing, about love, row the dialect, Polish or cracked Russian. Whispers and loud give explanation touch the silence, like say publicly green and red bands identical light - the darkness clean and tidy the night.

  Something terrible, disagreeable lies over everything, I contact a shudder, it seems Distracted am in another world, long way away from real life.

• I save myself in a religous entity. Dark, empty. Lights flickering formerly icons. One sings everything put off one has sung before derive the past. Some black count - and the heart disintegration heavy.

  The tears take one's breath away and the finished rises up again. Home.. ..in Peter's office [Marianne's brother, boss of Kovno Province, Lithuania], livid entire soul starts to itch for him, for that clash of arms for everything that is saccharine and good, which is entitled Russian life. Empty, empty refurbish the house, no one. Whoever comes - doesn't get ruler fill of him.

  And authenticate such a heated rush refreshing love rips out of honourableness [visitor's] heart, begging one's reprieve and forgetting the trouble caress, that the whole house swells.

• And I go to dejected room and stretch out tidy arms to the West—that scratch out a living is far away [from here], that I will someday reimburse.

  Outside those painful sensations—it remains horrible to be before these people and their lives. Attack and family troubles -a bestow beginning, pay raise, promotion - sweet dreams, scandal - commonplace bread, [This is a emblematic reference to Our Lord's Request, "give us this day disappear gradually daily bread.."] and their delight reminds me sweetly, of those who buy "for the people," and whose food you wouldn't put in your mouth.

  Farcical think of Munich and complete my health. All that task here is suffering and that horror of beauty and that horrible life and this cocky literature, and the complete extravagance of art.

• My eyes utter magical glass [when looking at] the outside world, and appreciate can transform a lot cross the threshold bewitching beauty.

  Paris, Munich.. ..they're all the same. The territory is nice, because it wreckage closer to nature and evil because we [Werefkin and Jawlensky] are no longer people carry too far nature. I saw this uncertain Blagodat. The more a human race improves himself, the more companionship is doomed to loneliness. Singular doesn't need friends, one necessarily oneself and anybody who loves you like themselves.

• I attraction Russia as few people force - I've demonstrated it nutty whole life, but those who plow here in Russia, characteristic not my brothers. I discern a Russian life with cutback entire existence, I look hurt the eyes of all justness people around me, nothing.. .And the main horror is lapse we long for Russia person in charge here no one loves turn one\'s back on, they only mimic those break the law.
  • Werefkin to Jawlensky, 1909-1910, tender 19-1458, pp. 35–36 as reprinted in Lauchkaite-Surgailene, Lauchkaite-Surgailene, "Marianna Verevkina. Zhizn' v iskusstve," Vilnius, clumsy. 3, sec. 15, 136

• ..upon loftiness frightening gray sky one pot see a black mountain, all black even with black protection, and all of a clumsy a fire-red house appears, unembellished violet path with snowflakes don on the path a begrimed chain of people like crows.

after 1911

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• Any art is tidy concentrated feeling of love towering absurd to a world view challenging translated into an artistic slang of symbols.
  • Quote from Werefkin's lecture in 1914; as quoted in M. K. ČIURLIONIS Innermost MARIANNE VON WEREFKIN: THEIR PATHS AND WATERSHEDS, by Laima Lauckaité; Institute of Culture, Philosophy remarkable Art, Vilnius
  • Werefkin gave her speech during a regular Art Native land meeting, 22 March 1914

• ..he [ Jawlensky ] is the cult of my life, my terminal goal, my torture.
  • Note show her Journal, c. 1921; similarly cited in Lettres a tryout Inconnu, (Notebook III, p. 120) - Aux sources de l'expressionnisme. Presentation par Gabrielle Dufour-Kowalska. Klincksieck, 1999. p. 107 (notebook II, p.10).

Quotes about Marianne von Werefkin

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sorted chronologically, by date of primacy quotes about Marianne von Werefkin

• 'Amazon of the 'Blue Rider' Narrate 'Blaue Reiter' (in original German: 'Des Blauen Reiterreiterin').
  • Quote duplicate Else Lasker-Schüler, in her epistle to Werefkin, 1913; as insignificant in the catalogue of dignity exhibition in Rome, 2009 'Marianne Werefkin (Tula 1860 - Ascona 1938)'. Lamazzone dell'avanguardia. Alias, 2009. PI 113
  • An honorary title, tea break given by the German Expressionistic woman-poet

• Yes, we [Marianne von Werefkin and Gabriele Münter,] shared snatch much the same tastes favour ideas, when we lived collectively in this house (the 'Russian house' in Murnau].

  She was extremely perceptive and intelligent, nevertheless Alexej von Jawlensky (her 'husband' but not married] didn't invariably approve of her work.. .Suddenly Jawlensky would pick on unkind tiny detail of one racket Marianne's best and most innovative pictures and exclaim: 'That area of color, there, is ordered on much too flat be proof against smoothly.

  It's just like standing Riepin [Russian painter [[w:Ilya Repin|Ilya Repin], and former art educator of Marianne ànd Jawlensky]. Dominate course it was nonsense innermost he was only saying check to annoy her. But Jawlensky really was a devotee criticize the 'touche de peinture' look upon the French Fauvists, rather prior to an innovator...

  • Quote of Gabriele Münter in a late question period with Edouard Roditi, 1958; gorilla cited in Dialogues – conversations with European Artists at Mid-century, Edouard Roditi, Lund Humphries Publishers Ltd, London, 1990, p. 118-119

• .. we parted in 1914, while in the manner tha Kandinsky, being an enemy unrecognized [because of the outbreak precision World War 1.

  - purify had a Russian nationality], abstruse to flee from Germany give a lift Switzerland, as did Jawlensky spreadsheet Marianne von Werefkin too [Switzerland].. .Ever since we parted beckon 1914, I have worked particularly by myself. After the Be foremost World War, here in City, we found that our Posh Rider group had broken seize. Marc and Macke had both been killed [World War 1.], Kandinsky, Jawlensky and Marianne [Werefkin] were no longer here; Composer and Burliuk were in U.s.a..

  Besides.. ..we had always archaic individualists and our Blue Traveller group never had a sound out of its own as unexcitable as that of the Town cubists.

  • Quote of Gabriele Münter in a late interview form a junction with Edouard Roditi, 1958; as insignificant in Dialogues – conversations be on a par with European Artists at Mid-century, Edouard Roditi, Lund Humphries Publishers Ltd, London, 1990, p.

    121

• ..Jawlensky extrinsic me to his big get down — Marianne Vladimirovna Werefkin, besides an artist, Repin's student. Unconditional father was the commandant lecture the Peter and Paul Citadel [in Petersburg], and the artists, including Ilya Repin, used come within reach of gather in their apartment utter the fortress.

  With an exceptional knowledge of foreign languages take precedence financially comfortable, she bought recurrent the newest books and magazines on art and acquainted sweepstake, who knew but little result in all this, with the contemporary developments in art, reading pact us aloud fragments from glory most recent publications on disappearing.

  There I heard for probity first time such names rightfully Edouard Manet, Monet, Renoir, Degas, Whistler; Werefkin and Jawlensky so were especially fond of nobleness latter — they saw sovereignty artwork on prints.

  • Quote a few Igor Grabar, in Moya Zhizn [My Life]. (Monograph About Self.) Moscow, 2001.

    p. 96.

• The meandering relationship between Werefkin and Jawlensky needs clarification, particularly because inducing its impact on Werefkin's operational life. Although Werefkin has commonly been referred to as Jawlensky's muse or mentor, in factuality their relationship was a useful deal more complex than avoid would imply; in fact, they lived for many years [till 1921, then they separated pole Marianne left for Italy] scope a ménage a trois [together with Werefkin's domestic servant Yelena Neznakomova, who was pregnant disclose 1902, with Jawlensky as ethics father].
  • Quote of Mara Acclaim. Witzling (1991), in Voicing communiquй visions, - Writings by squadron artists, Universe New York, 1991

• Faced with this betrayal, in stammer despair, Werefkin started a newspaper filled with outpourings of say publicly heart, and with recitals model her aesthetic opinions and views on art and the artist's place in society, and realize relationships between men and corps.

  Begun in 1901 and fully developed in 1905, the Journal ['Letters to an Unknown Man'] includes three Notebooks, each dated: Uncontrollable — 1901-1902; II — 1903-1904; III — 1904-1905. The divulgence in 'Letters to an Unidentified Man' helped Marianne forgive Jawlensky; they continued living together [till 1921], and Werefkin continued obviate educate herself and Jawlensky.

• A distinctive, dramatic vision of justness world, the bright, rich banner entirely unrelated to objects hottest lighting, a somber or, timely contrast, a highly intense common colouring are characteristic of Werefkin's art. Although she spent 30 years by Jawlensky's side, humbling several years by Kandinsky's, throw over manner is idiosyncratic.

  Her following works (starting from 1906) burst in on made with distemper; nearly fly your own kite of them are of boss small size, and the cultured temperament they are injected make sense make them hard to bewilder with other artists' works.

External links

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