Meditation (März 1936, N. 6). 1936.
Oil on paper laid on board.
Jawlensky/Pieroni-Jawlensky 1844 (illustrated in color p. 215). Monogramemd lower left, dated lower right. Signed, dated and inscribed "III N 6", as well as "I A" on rear of backing board. Verso of lower margin of cardoard base once more inscribed "III 1936 N 6" by the Lisa Kümmel. 18,8 x 12,4 cm (7,4 x 4,8 in).
Among the portfolios that Jawlensky had compiled since 1935, each with ten works on the same theme, the portfolio for Dr. Jim Sharp, San Francisco, shipped to Galka Scheyer, Jawlensky's representative in the U.S.A., on 28 September, 1935, lists the work "III 1936 N.6" under position 3. The portfolio conatined both Meditations as well as small still lifes (see also Jawlensky, Pieroni-Jawlensky, catalog rasioné of paintings, volume III p.44).
Among the cycle of the Small Meditations, this work occupies a special rank, as the artist esteemed it "I A"(that is of special qaulity).
We are grateful to Ms Jawlensky-Bianconi, Alexej von Jawlensky-Archiv, Locarno for her kind expert advice.

PROVENANCE: Jim Sharp, San Francisco (acquired in 1936 from the artist)
E.V. THAW & CO., New York. with gallery label on rear of backing baord.
Leonard Hutton Galleries, New York.
Hauswedell & Nolte, sale 199, 6. - 8. June 1974, lot 771, p.221 (with color illu.).
Privat Collection Germany.
Galerie Gunzenhauser, Munich
Private Collection Baden-Württemberg (acquired for the above).

Jawlensky only began his artistic training in 1889 in St. Petersburg after a career as an officer in the tsarist army. He studied under Ilja Repin who introduced him to Marianne von Werefkin and Helene Nesnakomoff, his later wife. Jawlensky accompanied these two to Munich in 1896 where they wanted to visit a private art school. Here Jawlensky met Wassily Kandinsky. The artist undertook several trips to France and was able to show ten paintings at the 'Salon d'automne' with the help of Sergej Djagilev. Jawlensky also met Henri Matisse for the first time. In summer 1908 he worked with Kandinsky, Marianne von Werefkin and Gabriele Münter in Murnau for the first time. There, the four artists developed the idea for the foundation of the 'Neue Künstlervereinigung München' to which they aligned with other artists. In December the first exhibition took place in Munich. Two years later the 'Blauer Reiter' was established as a new idea of co-operation. In 1913 Jawlensky participated in Herwarth Walden's first German autumn Salon in Berlin. When in 1914 world war I began, Jawlensky was expelled from Germany due to his Russian citizenship. He moved with his family and Marianne von Werefkin to Prex on Lake Geneva. And remained in Switzerland until 1921, where he began painting his abstract heads in 1918. His final move to Wiesbaden took place in 1921. An attack of arthritis in 1929 forced the artist to visit various spas at regular intervals. Jawlensky suffered from a progressing paralysis and had difficulties in painting. One year later the painter began the series of small-format 'Meditationen'.

In 1937 72 of his works were confiscated as "degenerate". Three years later in 1941 Jawlensky died in Wiesbaden. At the beginning Jawlensky's style was influenced by the Fauves, particularly by Matisse, but the artist soon discovered his own, Expressionist style, which is characterised by strong colors and simple forms. Later he turned to those calm, spiritualised and mystical images of the Human face, which are so typical of Jawlensky.