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
Regular price
£37.00 GBP
Sale price
£37.00 GBP
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
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.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Complete The Look
Still Life with Begonia - Alexej von Jawlensky
Regular price
From £37.00 GBP
Sale price
From £37.00 GBP
Regular price
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.
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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.
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