Marianne von Werefkin, born Marianna Wladimirowna Werewkina (1860 –
1938), was a Russian-German-Swiss Expressionist painter. She is depicted
in the self portrait from 1910 shown above. She was
born in the Russian town of Tula and had her first private academic drawing
lessons at the age of fourteen. In 1880, she became a student of Ilya
Repin, the most important painter of Russian Realism. In 1892 she met Alexej von Jawlensky, and in 1896 she, Jawlensky, and their servant moved to Munich. Werefkin studied with other Russians in Munich at an art school directed by the Slovenian Anton Ažbè. For the sake of Jawlensky's art, Werefkin interrupted her own painting for almost ten years.
She began painting again in 1906. A year later she created her first expressionist works. She and Jawlensky spent in 1908 several periods working with Kandinsky and Münter after their discovery of the picturesque rural town of Murnau near Munich, where Gabriele Münter owned a house. At her Munich apartment, Werefkin started a Salon which soon became a center of lively artistic exchange between members of the German and Russian avant-garde, like Kandinsky and Marc, who later started the famous expressionist Blue Rider movement. At the outbreak of the First World War, Werefkin and Jawlensky moved to Switzerland. By 1918, they had separated, and Werefkin moved alone to Ascona, where she painted many colorful, landscapes in an expressionist style. Marianne von Werefkin died in Ascona on 6 February 1938.
She began painting again in 1906. A year later she created her first expressionist works. She and Jawlensky spent in 1908 several periods working with Kandinsky and Münter after their discovery of the picturesque rural town of Murnau near Munich, where Gabriele Münter owned a house. At her Munich apartment, Werefkin started a Salon which soon became a center of lively artistic exchange between members of the German and Russian avant-garde, like Kandinsky and Marc, who later started the famous expressionist Blue Rider movement. At the outbreak of the First World War, Werefkin and Jawlensky moved to Switzerland. By 1918, they had separated, and Werefkin moved alone to Ascona, where she painted many colorful, landscapes in an expressionist style. Marianne von Werefkin died in Ascona on 6 February 1938.
(Extract from Wikipedia).
I consider Marianne von Werefkin one of the greatest expressionist artists.
The Storm (1907)
A relatively early work from her expressionist period. It suggests the women performing some kind of ritual to appease the sea. It is striking how she chooses to make the women virtually identical, a symbolic loss of individuality.
Fall, School (1907)
The theme of a teacher (one assumes) walking the children to the school could have been depicted as a pleasing image. Instead Werefkin opts for an almost desolate approach, enhanced by the black school uniforms.
Red City (1909)
There is often a sense of danger, disaster, or despair in her work. Here we have an almost apocalyptic view of a ruined city, enhanced by the stark colours contrast and desolate setting.
Tragic Mood (1910)
This is one of her more 'relaxed' paintings - in spite of the blood red colours dominating. It is rather ironic that she chose this particular title, but it is effective as it makes you think what the story might be behind it.
Man with Flock of Sheep (1910)
Mountain landscapes play a paramount role in Werefkins oeuvre, often looming menacingly in the background. Here they get a more central role. What could be more pastoral than a shepherd and his flock of sheep? Well, she manages to turn it into a depressing image by the choice of colours and the pose of the shepherd.
Golgotha (1910)
The crucifixion was of course a recurring theme in many centuries of Western art, but by 1910 it had lost its central place in that respect. Werefkin is one of the few who decided to tackle it in the expressionists' age, and with great results. I like how she holds back in terms of choosing a depressing setting for this heavy subject.
City in Lithuania (1913)
Compared to most of the other choices I made, this painting is at first glance less pessimistic. But even here, the bent figure, suggesting a hard life, and the coldness of the environment still gives one an uncomfortable feeling.
Snowdrift (1915)
This was actually the first Werefkin painting I came across on the web, and I posted it immediately in the previous incarnation of this blog. Another painting that makes you think, with some obvious symbolisms.
The rag collector (1917)
Could this landscape be more menacing? And to top it, we have the figure of the rag collector upfront, collecting rags from the seashore or lakeshore, likely remains from a boating accident. Morbid.
Eventide (1922)
It looks like the negative streak in her art gradually faded out in the twenties. In sharp contrast with the 1910 painting of a similar theme, here we have a truly pastoral peaceful take on the shepherd and his flock. Even the mountains look less threatening.
Yes, the colours are dark, the figures clad in black, and yet this painting is again less unheimisch than her work of the preceding decade.
City of Sorrow (1930)
And to round off this blog post, we have this 1930 landscape with figures which reminds me conceptually of her 1910 painting Tragic Mood, shown before: although there is nothing negative in the painting itself, she does convey an uneasy feeling by the choice of the title.
Copyright statement: images all in public domain.
