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“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.”

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Alexej von Jawlensky

from: 'Lebenserinnerungen', 1938
Zdroj: 1936 - 1941, Life Memories' (1938), p. 186

“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.”

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Alexej von Jawlensky

from: 'Lebenserinnerungen', 1938
Zdroj: 1936 - 1941, Life Memories' (1938), p. 20

“The whole of French art is a matter of seeing Nature as beautiful, very beautiful, in fact. But on the whole this is not enough. You have to create your own Nature – Van Gogh!”

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Alexej von Jawlensky

Jawlensky is looking back on his encounter with French art through his voyage with Marianne Werefkin to Normandy and Paris, in 1903 when he discovered Van Gogh
1900 - 1935
Zdroj: Expressionism: A Revolution in German Art, Dietmer Elger, Taschen, 2002, p. 166

“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.”

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Alexej von Jawlensky

In his letter, 12 June, 1938 to P. Willibrord Verkade, as quoted in Alexej von Jawlensky, der Maler und Mensch, , Clemens Weiler; Wiesbaden 1955, pp. 39 ff
1936 - 1941

“I am now mainly painting faces and landscapes; I am obsessed day and night by the vision of faces and colours. And the spiritual vision is my mystical world.”

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Alexej von Jawlensky

Quote of Jawlensky from a letter to his brother Dimitri, c. 1917/18; as cited in Alexej von Jawlensky, Museum Boymans-van-Beuningen, Rotterdam; exhibition catalog 25/9 – 27/11-1994, p. 150
1900 - 1935

“My friends, the apples that I love for their delightful red, yellow, mauve and green clothing cease to be apples for me when I see them against this or that background, in such or such surroundings... And they resound in my sight like a music, reproducing this or that mood of my soul, this or that fleeting contact with the soul of things... To reproduce the things which exist without being, to reveal them to other people, by passing them through my sympathetic understanding, by revealing them in the passion I feel for hem, that is the goal of my artistic existence. To me apples, trees, human faces are not more than hints as to what else I should seen in them: the life of colour, comprehended by a passionate lover.”

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Alexej von Jawlensky

Quote of Jawlensky, c. 1903; as cited by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 115
1900 - 1935

“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!”

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Alexej von Jawlensky

In a letter to the Dutch Fauvist painter Father Verkade, 12 June 1938; as quoted in Alexej Jawlensky, Jürgen Schultze; M. DuMont Schauberg, Cologne 1970, p. 54
1936 - 1941

“Perhaps you have heard that Baroness Werefkin died in February. It was a great blow to me. Yes, indeed, sooner or later we have to pay for our mistakes once made. And often so severely.”

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Alexej von Jawlensky

Quote of Jawlensky's letter, 12 June, 1938 to P. Willibrord Verkade, as cited in Leben und Werk, 1860- 1938, Bernd Fäthke, Prestel Verlag, 1980, ISBN 9783791308869, as cited on http://www.fembio.org/english/biography.php/woman/biography/marianne-werefkin/#literatur on the website Fembio, by Luise F. Pusch - transl. Joey Horsley, p. 19
1936 - 1941

“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.”

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Alexej von Jawlensky

quote from his letter to the National Socialist State Cultural administration, 1939; Jawlensky asked permission to exhibit his painting art, which was turned down by the Nazi regime
Zdroj: 1936 - 1941, Life Memories' (1938), p. 24

“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”

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Alexej von Jawlensky

in mainly small sizes
from: 'Lebenserinnerungen', 1938
This small house was in St. Prex, in Switzerland, lake Genova, where Jawlensky concentrated himself on the view around his house in the years after 1914.. ..he painted here more than 400 'Variations on a landscape theme', in St. Prex
Zdroj: 1936 - 1941, Life Memories' (1938), p. 186

“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.”

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Alexej von Jawlensky

from: 'Köpfe, Gesichte, Meditationen', Clemens Weiler
Zdroj: 1936 - 1941, Life Memories' (1938), p. 149

“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..”

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Alexej von Jawlensky

from: 'Lebenserinnerungen', 1938
Zdroj: 1936 - 1941, Life Memories' (1938), p. 23

“From then on [1880] I used to go to the Tretyakov Gallery [in Moscow] every Sunday, arriving very early and staying there without eating until closing time at three o'clock. It was a tremendous experience for me, like going to church. Indeed, I felt as if I were in a temple.”

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Alexej von Jawlensky

from: his Memories, in 'Catalogue Raisonné of the oil Paintings', ed. Maria Jawlensky, Angelica Jawlensky and Lucia Pieroni-Jawlensky; published resp. in 1991, 1992, 1993
Zdroj: 1936 - 1941, Life Memories' (1938), p.274

“My art in the last period has all been in small format, but my paintings have become even deeper and more spiritual, speaking purely through colour... And now I leave these small – but to me – important works to the future and to the people who love art.”

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Alexej von Jawlensky

from: 'Lebenserinnerungen', 1938 - after 1937 Jawlensky couldn't paint any longer because of severe arthritis
Zdroj: 1936 - 1941, Life Memories' (1938), p. 249

“This acquaintance [with Marianne Werefkin ] would change my life. I became a friend of hers, of this clever woman gifted with genius.”

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Alexej von Jawlensky

from his memoirs, 1936/41: in Lebenserinnerungen (Memories), Alexej Jawlensky - Köpfe-GesichteMeditationen (Heads-Faces-Meditations), ed. Clemens Weiler (Hanau: H. Peters, 1970), p. 106
1936 - 1941

“We had a very lovely place [in Ascona with his life-companion Marianne Werefkin ] with a garden directly on the lake. It was on the edge of Ascona. Next to it began the Campagna [landscape], and this Campagna was enchantingly beautiful, like a dream.”

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Alexej von Jawlensky

quote from Jawlensky's memoirs, 1936/41: Lebenserinnerungen (Memories) p. 119; as cited in Exile, the Avant-Garde, and Dada: Women Artists Active in Switzerland during the First World War http://www.jstor.org/stable/10.1163/j.ctt1w8h0q1.10, by Isabel Wünsche, p. 66
Jawlensky was very pleased with this move from Zurich to Ascona; Werefkin arranged this family's move after Jawlensky fell gravely ill with the Spanish flu. A few years later Jawlensky would leave here.
1936 - 1941

“.. 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.”

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Alexej von Jawlensky

Quote of Jawlensky, c. 1903; as cited by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 114
1900 - 1935

“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.”

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Alexej von Jawlensky

Quote c. 1911; in 'Lebenserinnerungen', 1938; as cited in Alexej von Jawlensky, Museum Boymans-van-Beuningen, Rotterdam; exhibition catalog 25/9 – 27/11-1994 (a. o. his life quotes from ['Life Memories'] he dictated late in his life, in 1938)
1900 - 1935

“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..”

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Alexej von Jawlensky

In a letter to the Dutch Fauvist painter Father Verkade, 12 June 1938; as quoted in Alexej Jawlensky, Jürgen Schultze; M. DuMont Schauberg, Cologne 1970, p. 39
1936 - 1941

“My paintings [c. 1907] were aglow with colors and so my soul was contended with them.”

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Alexej von Jawlensky

1900 - 1935
Zdroj: Expressionism: A Revolution in German Art, Dietmer Elger, Taschen, 2002, p. 166

“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.”

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Alexej von Jawlensky

from his 'Memories', in 'Catalogue Raisonné of the oil Paintings', ed. Maria Jawlensky, Angelica Jawlensky and Lucia Pieroni-Jawlensky; published resp. in 1991, 1992, 1993
Zdroj: 1936 - 1941, Life Memories' (1938), p.274