雅弗林斯基 紅蝴蝶結女孩 倫敦蘇富比2008.2 成交價293.25萬英鎊作品介紹With her rosy cheeks and petulant look up at her viewer, the girl in M?dchen mit roter Schleife appears the embodiment of youthful cheek. Alexej von Jawlensky has filled the picture with a range of incandescent colours that speak of the vitality and potential of youth. These colours, so lively and bold, form a strange contrast with the deliberately grumpy look on the girl"s face, a detail that the palette begs us not to take too seriously, and that in fact adds an endearing dimension to the painting.M?dchen mit roter Schleife was painted in 1911, the year that Jawlensky himself recalled with great pride as the most important breakthrough in his career. It was during this time that he painted his "most powerful works, referred to as the "pre-war works"" (Jawlensky, quoted in "Memoir dictated to Lisa Kümmel, Wiesbaden, 1937", pp. 25-33 in M. Jawlensky, L. Peroni-Jawlensky and A. Jawlensky (ed.), Alexej von Jawlensky: Catalogue Raisonnée of the Oil Paintings: Volume I 1890-1914, London, 1991, p. 31). M?dchen mit roter Schleife clearly falls into this category, sharing with many of the other paintings of the period the bold, Expr-essionistic palette (Jawlensky listed the bold colours that marked the paintings of this period: " red, blue, orange, cadmium yellow and chromium-oxide green") and the deft simplification of forms and features in order to intensify their visual impact. This work, then, dates from the most important vintage year of Jawlensky"s career, and it is clear, from the virtuosity with which he has rendered his subject, why the pictures from this period have been celebrated, both by the artist and by his critics and supporters alike.The subject of children had featured in several of Jawlensky"s pictures, as it had in the works of several of the other Expr-essionist painters working in Germany during this period. Often, Jawlensky would show these children holding a doll, a feature that again echoed the depictions of other artists active at that time, for instance Heckel. Here, instead of a toy-like doll-- a symbol of childhood, motherhood and a strange stand-in for the subject herself-- the young girl is shown in a sailor-like outfit. This adds a sense of both play and role-play to M?dchen mit roter Schleife, emphasising the fact that pictures are somehow artificial and thereby circumventing that problem, acknowledging and even embracing the limitations of representation in order to demonstrate that Jawlensky is not seeking merely to capture a sight, but something more...The role of the child in the paintings of the Expr-essionists, a loose umbrella term covering a multitude of movements and individuals, sometimes took strange extremes, from the embodiment of innocence to the figures teetering ambiguously on the brink of sexual awareness. Jawlensky has shunned both of these over-simplistic routes of depiction in order to create something that is marked by a far more complex mood, a more complex personality and therefore a more complex and more rounded humanity. In the human face, Jawlensky saw a template in which all the beauty and harmony of the world was captured, a legacy in part of his Russian upbringing and of the role played by religious icons in the Orthodox church. While this aspect of the representation of the face would become codified during the years of the First World War, with works such as the Saviour"s Faces and Abstrakt Heads, already in M?dchen mit roter Schleife the earlier stages of this interest can be seen. This, then, is a spiritual subject. The playful cheek, the sulkiness of the girl in her almost comical outfit, is nonetheless used by Jawlensky as an insight into life on a more metaphysical level. The colours pulse with intensity, Jawlensky tapping into the energy of existence, of the divine.This mystical side to Jawlensky, which would result in his later series of meditative works, had already attracted a group of admirers and had resulted in the formation of the Neue Künstlervereinigung München around him and his compatriot, Kandinsky. The group attracted several Expr-essionist members, not least Franz Marc who, with Kandinsky, broke away from the NKVM to form the Blaue Reiter group with which Jawlensky would also come to be associated. These movements exemplified the concept of Expr-essionism as an art that forms an expr-ession, rather than a mere representation-- expr-essive rather than expr-essionistic-- and this is an aspect that is perfectly embodied in M?dchen mit roter Schleife.In the Blue Rider Almanac, published the year after M?dchen mit roter Schleife was painted, Marc celebrated the achievements of the original members of the NKVM: "In Munich the first and only serious representatives of the new ideas were two Russians who had lived there for many years and had worked quietly until some Germans joined them. Along with the founding of the association began those beautiful, strange exhibitions that drove critics to despair" (Marc, quoted in W. Kandinsky and F. Marc (ed.), The Blaue Reiter Almanac, trans. H. Falkenstein, London, 1974, p. 64). The influence of these two Russians, Kandinsky and Jawlensky, continued to be felt for a long time, and had a marked influence on a whole generation of young German artists who were attracted by the notion that their pictures, "stimulated thought, and people came to understand that art was concerned with the most profound matters, that renewal must not be merely formal but in fact a rebirth of thinking. Mysticism was awakened in their souls and with it the most ancient elements of art" (Marc, quoted in ibid., p. 64). It is this aim which lies at the heart of M?dchen mit roter Schleife that Jawlensky accomplishes by presenting the child through expr-essive means, filled with colour. She is an image of childhood, not as a glossy innocence, but in all its complex glory, a perfect embodiment of a new era, of hope, of the potential for growth. In this, one can see that Jawlensky"s aim was perfectly in tune with that noted in the Almanac: "To create out of their work symbols for their own time, symbols that belong on the altars of a future spiritual religion, symbols behind which the technical heritage cannot be seen" (Marc, quoted in ibid., p. 64).M?dchen mit roter Schleife was split from Hélène (lot 6 and originally recto of the present work) as was the artist"s intention per his handlist (see Alexej von Jawlensky Catalogue Raisonné of the Oil Paintings Volume One 1890-1914, no. 396, p. 319).畫家簡介阿歷克塞·馮·雅弗林斯基（Alexej von Jawlensky，1864-1941），俄羅斯表現主義畫家，慕尼黑新藝術家同盟創始人，青騎士社成員，以熱情洋溢色彩斑斕的肖像藝術聞名，被稱為「俄國的馬蒂斯」。他從1889年起,離開皇家近衛軍軍官職務, 進了莫斯科的美術學院,隨列賓學畫。從1896年起,又在慕尼黑安東·阿茲伯學校學習,並在那裡結識康定斯基。1902年以後,他便獨立作畫了。他和康定斯基、庫賓、加伯利埃爾·門特以及其它一些人是1909年慕尼黑新美術家協會的創始人。他雖然沒有參加青騎士畫展, 但與該派極為接近。戰爭期間, 雅弗林斯基住在瑞士 (聖·伯萊克斯,蘇黎世,阿什戈納), 並於1921年定居威斯巴登。1924年,他和康定斯基、克利、費寧格組成 "四青", 在德國和美國舉行畫展。這位俄國畫家在慕尼黑學習了西文繪畫, 塞尚和梵谷給他留下深刻印象, 並鼓勵他探索更加宏大、簡單、更富有表現力的形式。1905年,他在英國和普羅旺斯的小住使他作為色彩畫家的天賦得到發揮, 和馬蒂斯的結識又幫助他找到了自己的道路。他在1909年用發光的純色平塗的油畫就已經很象是法國畫家所作, 不同之處在於法國畫家的線是積極熱情的,而他的線則是以豐富、肉感的顏色消極地勾畫著物體的輪廓。他的畫真誠奔放,色彩以大地的力量和俄國平民畫的原始表現力歌唱著。他畫過一些風景, 但主要是畫頭像和半身像。在1911-1914年間, 畫家的力量凝聚在更加簡單而大的形中。他畫的肖像大多表情生動，線條和色彩強烈。筆法和用色充滿變化。第一次世界大戰期間, 雅弗林斯基的畫有了深刻的轉變, 精神的作用使他的藝術從戰前的模樣發展成為以聖伯萊克斯風景為對象。而色彩更為精美的《變化》一畫, 又從那裡走向《神秘的頭》(1917年)、《救星顯聖》(1919年)以及幾年之後的《抽象的頭》。從此,人的面容便成為他感興趣的唯一題材, 它的主要結構是十字骨和眉弓, 臉,橢園的下巴, 額部, 決定了畫的象徵性構造, 可以說它是帶著深刻、神秘的宗教感情的新聖象。"藝術是對上帝的懷念",他經常這樣說。顏色在它所強調的線狀結構之中烯起了更秘密、更稀有的火焰。截至1935年始終光亮透明的彩色在他一生的最後幾年變得暗淡起來,但同時, 他卻在生活和繪畫之中,找到了自己童年時篤信的東正教之路。他早期畫了許多靜物畫，深受安德斯佐恩的影響。後來他在博物館第一次看到高更的繪畫，很受感染，以及塞尚和梵高的影響，令他的繪畫中具有一些印象派的風格，並慢慢地擴展出自己對色彩的理解。按他自己的話說，他要「在色彩中尋找和諧」。雅弗林斯基作為表現主義最有代表性的三個畫家，儘管從他們的畫作中同樣充滿了大膽的色彩和線條，浪漫主義的氣息，由於個人氣質和關注焦點不同，畫作呈現的主題截然不同。雅弗林斯基則記錄每一張獨特的面孔，記錄他們生動而富有個人氣息的表情，生命總是稍縱即逝的，當他們被定格在繪畫里卻可以接近永恆。作品資料M?dchen mit roter Schleife成交總額 GBP 2,932,500估價 GBP 1,800,000 - GBP 2,500,000拍賣 7562Impressionist and Modern Art Evening Sale倫敦|2008年2月4日拍品 4oil on board28? x 19 5/8 in. (71.5 x 50 cm.)Painted in 1911來源The artist"s studio.Dr E. Mayer, Wiesbaden, by whom acquired from the artist in the 1920s, and thence by descent; sale, Sotheby"s, London, 4 December 1968, lot 80 (verso).Acquired at the above sale by Maurice and Vivienne Wohl.展覽歷史London, Roland Browse and Delbanco, 1958.相關文獻The artist"s handlist.C. Weiler, Jawlensky: Heads, Faces, Meditations, London, 1970, no. 80, p. 122.M. Jawlensky, L. Pieroni-Jawlensky & A. Jawlensky, Alexej von Jawlensky: Catalogue Raisonné of the Oil Paintings, Volume Three1934-1937, London, 1993, no. 396, verso (illustrated p. 319).陰山工作室本文圖片及英文資料均來自蘇富比官方網站，局部細節圖片及中文資料系陰山工作室所加。此作拍賣時間較早，找不到更大的圖片。━━━━━━━━━━━━━━━━━━━━━━━━━━━━━陰山箴言 閱畫千卷，不如讀透一幀
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