Fine Art Poster
From £37
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Still Life with Begonia - Alexej von Jawlensky
Prix régulier
£37.00 GBP
Prix de vente
£37.00 GBP
Prix régulier
Giclée d'art
Les cadres sont livrés prêts à suspendre
Paiement sécurisé
Fabriqué sur commande
Description
A bold Expressionist still life from 1911, featuring a begonia plant and fruit rendered in high-chroma colours and simplified, expressive forms.
Alexej von Jawlensky painted Still Life with Begonia in 1911, a period during which he was deeply involved with the Neue Künstlervereinigung München and the burgeoning Expressionist movement in Germany. This work demonstrates his move away from naturalistic representation toward a subjective, emotive use of colour. The composition is dominated by a bold, saturated blue background that flattens the pictorial space, pushing the objects into the foreground.
The central begonia plant, rendered with simplified forms, acts as a vertical anchor. Jawlensky employs thick, visible brushwork to define the petals and leaves, eschewing fine detail for a sense of immediate energy. To the left and right, bowls of fruit are depicted with similar economy, their shapes reduced to rounded masses of colour. A large, irregular pink form sits at the base, providing a stark contrast to the surrounding blues and greens. This choice of palette, featuring high-chroma oranges, pinks, and deep blues, is characteristic of the artist's work during his time in Murnau, where he frequently painted alongside Wassily Kandinsky and Gabriele Münter.
Jawlensky prioritised the expressive potential of the medium over the objective reality of the subject. The objects are not merely observed; they are interpreted through a lens of personal feeling. The heavy outlines and non-naturalistic shadows suggest the influence of Fauvism, yet the work retains a distinct, heavy-handed materiality that is uniquely his own. By stripping away unnecessary detail, Jawlensky allows the viewer to focus on the interaction of shapes and the psychological weight of the colour choices. This print captures the texture of the original oil on cardboard, preserving the raw, direct application of paint that defines his early twentieth-century output.
Politique de retour
Comme chaque impression est réalisée à la commande, nous n'acceptons ni les retours, ni les remboursements, ni les échanges pour cause de changement d'avis. Si votre commande arrive défectueuse, endommagée ou non conforme, nous la remplacerons gratuitement — contactez-nous simplement dans les 48 heures suivant la livraison. Consultez notre page de remboursement pour plus de détails.
Expédition
Nous livrons dans le monde entier, en imprimant depuis le centre de production le plus proche de votre adresse de livraison. Les délais et les frais de livraison varient selon la destination ; vous verrez les options qui s'offrent à vous lors du paiement.
Fabrication
Chaque impression est réalisée à la commande par impression giclée 12 couleurs sur papier d'archivage certifié FSC. Conçue en Grande-Bretagne et imprimée dans votre centre de production le plus proche afin de réduire le gaspillage et d'accélérer la livraison.
Entretien et matériaux
Caractéristiques spécifiques
Chaque pièce Solis est fabriquée sur commande avec des matériaux de qualité galerie, conçus pour durer, destinés à la conservation.
- Impression giclée de qualité musée pour des couleurs riches et résistantes à la décoloration
- Papier beaux-arts mat d'archivage, certifié FSC
- Plusieurs tailles et options d'encadrement disponibles
- Cadres en noir, bois naturel, bois foncé ou blanc
- Les impressions encadrées sont livrées prêtes à accrocher
Entretien et nettoyage
Pour conserver votre œuvre en parfait état :
- Époussetez délicatement avec un chiffon doux et sec
- Évitez l'exposition directe et prolongée au soleil
- N'utilisez jamais de nettoyants liquides sur la surface de l'impression ou de la toile
- Conservez dans un endroit sec à température ambiante
- Manipulez les impressions avec des mains propres et sèches
Matériaux et dimensions
Impression giclée de qualité musée sur papier mat d'archivage certifié FSC, avec options d'encadrement et sur toile.
- Formats de papier : A4, A3, A2, A1, A0 et B2 (50×70 cm)
- Toile : du XS (20×30 cm) au Grand (60×90 cm)
- Cadres : noir, bois naturel, bois foncé ou blanc
Complétez le look
Still Life with Begonia - Alexej von Jawlensky
Prix régulier
À partir de £37.00 GBP
Prix de vente
À partir de £37.00 GBP
Prix régulier
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Alexej Von Jawlensky
By 1934, arthritis had locked Jawlensky's fingers and elbows. He clamped the brush between both hands, arms outstretched, and painted roughly a thousand small canvases he called Meditations. They are among the most concentrated devotional images in modern art, produced by a man who could barely move.
Jawlensky was born in Torzhok, Russia, in 1864, the fifth child of a military family. He trained as an officer in the Imperial Guard before abandoning that career in 1889 to study painting under Ilya Repin in St Petersburg. His patron and companion Marianne von Werefkin, herself a successful painter, financed their move to Munich in 1896. There he met Kandinsky, beginning a friendship that would shape both their careers.
Matisse, Van Gogh and Gauguin all pushed Jawlensky toward bolder colour, but his real catalyst was a trip to Provence in 1905 that convinced him colour could carry spiritual weight without representational accuracy. Back in Munich he produced intense, mask-like portraits: the Mystical Heads (1917 to 1919) and Saviour's Faces (1918 to 1920) drew directly on Russian Orthodox icon traditions from his childhood. He studied theosophy, yoga and Rudolf Steiner's anthroposophy, seeking a synthesis of Eastern and Western spiritual practice through paint.
He co-founded the New Munich Artists' Association with Kandinsky and later joined Der Blaue Reiter. In 1924, Emmy Scheyer (whom Jawlensky nicknamed "Galka", Russian for jackdaw) abandoned her own painting career to promote his work in America, forming Die Blaue Vier with Jawlensky, Kandinsky, Klee and Feininger. The First World War had already forced Jawlensky from Germany to Switzerland; he returned to Wiesbaden in 1921 and stayed until his death in 1941, increasingly isolated as the Nazis classified his work as degenerate.
Jawlensky was born in Torzhok, Russia, in 1864, the fifth child of a military family. He trained as an officer in the Imperial Guard before abandoning that career in 1889 to study painting under Ilya Repin in St Petersburg. His patron and companion Marianne von Werefkin, herself a successful painter, financed their move to Munich in 1896. There he met Kandinsky, beginning a friendship that would shape both their careers.
Matisse, Van Gogh and Gauguin all pushed Jawlensky toward bolder colour, but his real catalyst was a trip to Provence in 1905 that convinced him colour could carry spiritual weight without representational accuracy. Back in Munich he produced intense, mask-like portraits: the Mystical Heads (1917 to 1919) and Saviour's Faces (1918 to 1920) drew directly on Russian Orthodox icon traditions from his childhood. He studied theosophy, yoga and Rudolf Steiner's anthroposophy, seeking a synthesis of Eastern and Western spiritual practice through paint.
He co-founded the New Munich Artists' Association with Kandinsky and later joined Der Blaue Reiter. In 1924, Emmy Scheyer (whom Jawlensky nicknamed "Galka", Russian for jackdaw) abandoned her own painting career to promote his work in America, forming Die Blaue Vier with Jawlensky, Kandinsky, Klee and Feininger. The First World War had already forced Jawlensky from Germany to Switzerland; he returned to Wiesbaden in 1921 and stayed until his death in 1941, increasingly isolated as the Nazis classified his work as degenerate.
Made to order
Choose your finish
Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From £59
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
Pourquoi nous choisir ?
Garantie de livraison sans dommage
Expédition rapide
Matériaux de qualité musée
Vous aimerez peut-être aussi