Alexej von Jawlensky quotes
So the years passed and I worked a great deal. And then I became ill and although I could still work, despite the fact that my hands became more and more rigid. I could no longer pick up the paintbrush and had to use both hands to do so, always with a great deal of pain. The format of my works became very small, and I also had to find a new technique. For three years I painted these small heads like a man possessed. Then I realized that I would soon have to stop working entirely: and that's what happened, too!
Alexej von Jawlensky
I painted these 'Variations' [of landscapes] for some years and then I found it necessary to find form for the face, because I had come to understand that great art can only be painted with religious feeling. And that, I could only bring to the human face. I understood that the artist must express through his art, in forms and colours, the divine in him. Therefore a work of art is God made visible and art is 'a longing for God'.
I painted 'faces' for many years. I sat in my studio and painted, and I did not need nature to prompt me. It was enough for me to immerse myself in myself, to pray and prepare my soul to attain a religious state..
Alexej von Jawlensky
When we had been in Ashenstovo [1873, located near the Prussian border]] a few days my mother took us children to see a famous Polish church, Kostjol, famous for its miraculous Madonna icon. This icon had three precious coats, one of gold, one of coral and one with pearls and diamonds... Many peasant men and women were were lying prostrate on the floor as if crucified, with their arms outstretched. It was very quiet. Suddenly a great blare of trumpets shattered the silence. Terribly frightened I saw the gold curtain open and the Madonna appear wearing a gold robe.
Alexej von Jawlensky
I knew that I must paint not what I saw, but only what was in me, in my soul. Figuratively speaking, it was like this: In my heart I felt as if there were an organ, which I had to sound. And nature, which I saw before me, only prompted me. And that was a key that unlocked this organ and made it sound... They are songs without words.
Alexej von Jawlensky
I was taken to see the World Exhibition in Moscow [in 1880]. I found it all very boring. But when I came to a section devoted to art – there were only paintings, and this was the first time of my life [Jawlensky was 16 years old] I had seen paintings – I was so deeply affected that it was a case of Saul becoming Paul. It was the turning point of my life. Even since then art has been my ideal, my holy of holiest, that for which my entire soul and my entire self yearn.
Alexej von Jawlensky
I now began to search for a new path in art [from 1914, with the outbreak of World War 1. ]. It was a major task. I understood that I did not have to paint what I saw, not even what I felt, but only that which lived within me, in my soul. To put it in symbolic terms, it is like this: I felt within myself, within my breast, the keyboard of an organ and I had to make it resonate. And the nature that was in front of me served me only as a prompter. And that was a key that unlocked this organ and made it resonate. In the beginning it was very difficult. But little by little, it became easy for me to use colours and forms to find what was within my soul.
Alexej von Jawlensky
Every artist works within a tradition. I am a native of Russia. My Russian soul has always been close to the art of old Russia, the Russian icons, Byzantine art, the mosaics in Ravenna, Venice, Rome, and to Romanesque art. All these artworks produced a religious vibration in my soul, as I sensed in them a deep spiritual language. This art was my tradition.
Alexej von Jawlensky
At first I intended to carry on working in Saint-Prex [in Switzerland, circa 1914 – 1915] in the same way I had been working in Munich [the location of his Blaue Reiter / Blue Rider period]. But something inside me prevented me from painting colourful, sensuous pictures. Suffering had changed my soul, telling me to find other forms and colours to express what was on my mind.
Alexej von Jawlensky
Since 1929 I have suffered from an extremely painful disease [arthritis deformans] which gets worse every year. Little by little my arms and hands have become stiff and bent and I have terrible pain. This stiffness in my elbows and wrists has tremendously hindered my painting and I have had to find a new technique. My art in the last period has all been in small format, but my paintings have become even deeper and more spiritual..
Alexej von Jawlensky
..I did a great deal of work [in 1903, Normandy]. And I understood how to transfer nature into colors appropriate to the odor of my soul. I painted a large number of landscapes there, bushes and Breton heads from my window. The pictures were glowing with color. And my inner self was contended.
Alexej von Jawlensky
![This Spring of 1911 Marianne von Werefkin [his former study-mate in Russia and in fact his life-comapnion for many years, but never married] Andrei, Helene and I went to Prerow on the Baltic [coast]. For me that summer meant a great step forward in my art. I painted my finest landscapes there as well as large figure paintings in powerful, glowing colours and not at all naturalistic or objective. I used a great deal of red, blue, orange, cadmium yellow and chromium-oxide green. My forms were very strongly contoured in Prussian blue, and came with tremendous power from an inner ecstasy. 'Der Buckel', 'Violetter Turban', 'Selbstporträt'.. ..were created in this way. It was a turning-point in my art. It was in these years, up to 1914, just before the war [World War 1.], that I painted my most powerful works, referred to as the pré-war works. (Alexej von Jawlensky)](https://static.quotesdtb.com/img/quotes_images/30/alexej-von-jawlensky-art-426330.jpg)
It was very tiny, our house [ St. Prex ], and I had no room for my own, only a window, which I could call mine. But I was so gloomy and unhappy in my soul after all those dreadful experiences, that I was quite content to sit at the window and quietly collect my thoughts and feelings. I had a bit of paint but no easel, so I went into Lausanne – twenty minutes on the train – and bought a small easel from a photographer.. .It was highly unsuitable for painting but for more than twenty years I have painted my best work on that little easel [in mainly small sizes].
Alexej von Jawlensky
I sat in my studio and painted, and did not need Nature as a prompter [is after 1921, when he painted the series 'Abstrakter Kopf' / 'Abstract Head'.] I only had to immerse myself in myself, pray, and prepare my soul to a state of religious awareness. I painted many, many 'Faces'.
Alexej von Jawlensky
