Marianne von werefkin biography of george
•
georginacoburnarts
Tate Modern 25 April – 25 October
‘The whole work, called art, knows no borders or nations, only humanity.’
Der Blaue Reiter Almanac
In many ways Expressionists: Kandinsky, Münter and The Blue Rider feels like a miraculous, timely gift. This fryst vatten a stunning show, full of life affirming energy and new discoveries, largely drawn from works preserved by Gabriele Münter through both world wars and donated to the Municipal Gallery at the Lenbachhaus, Munich in The brief flowering of Der Blaue Reiter group resulted in art so dazzling that it still burns brightly and imprints the soul. It fryst vatten exhilarating to feel the colour, sense of possibility and pure elation in works such as Kandinsky’s Munich- Before the City (, oil paint on board) and sobering to contemplate what followed. World wars, toxic nationalism, the systematic denial of freedom of expression, persecution, exile, and genocide. The Entartete Kunst /Degenerate Art exhibition staged
•
Marianne Werefkin and the Nabis
South African Journal of Art History vol 35 no 1 pp85 - Marianne Werefkin and the Nabis Estelle Liebenberg-Barkhuizen Independent researcher elbabooks@ Authors and researchers such as Bernd Fäthke (), Mara Folini () and Hanni Geiger () discuss the work of the Nabis1 artists as having exerted an influence on the creative output of Marianne von Werefkin ().2 This article investigates the nature of this influence and proposes that the work of the Nabis was more of an embodiment of theories and ideas which Werefkin had formulated independently before she relocated from Russia to Munich in The article attempts to establish what contact Werefkin had with Nabis art, theory and artists; undertakes examinations of selected paintings by Werefkin to ascertain the extent of the influence exerted; and considers of some of Werefkin’s own theories on art in relation to Nabis art and theory. Keywords: Marianne Werefkin, Werefkin and the Nabis, Nabis Marianne von Wer
•
Ambiguity of Home: Identity and Reminiscence in Marianne Werefkin's Return Home, c. | ||||
| Marianne Werefkin's oeuvre has largely been defined by scholars in terms of her associations with Russian literary Symbolism and the Symbolist work of such French artists as Paul Gauguin, Paul Sérusier, and Emile Bernard.1 Her tendency to use flattened areas of color, highly saturated hues, and outlined forms in her painting, as well as personal documents recording her interest in color, have directed analyses of her art in this manner. Werefkin's artistic concerns however, were also filtered through the lens of her experience in Germany and her native Russian ethnicity. She led a successful artistic career in her Russian homeland in the late s and early s before resettling in Munich in , and was actively engaged in that city's avant-garde community. She was, together with Alexei Jawlensky, Wassily Kandinsky, and Gabriele Münter, one of the founding me
|