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Hace 1 día · For me, Münter really steals the show: her canvases are bold, bright, almost Fauvist. She paints with dynamic, grand strokes, depicting elegant ladies lazing on the grass and an angular-looking opera singer with rosy cheeks: Olga von Hartmann, 1910. I found the vivid, almost neon-coloured Portrait of Marianne Werefkin, 1909, most alluring.
23 de abr. de 2024 · Marianne von Werefkin’s eyes, for instance, blaze red from her self-portrait. Green, yellow and pink duke it out for dominance of her skin. Her ochre hat with a violet flower collides with...
Hace 5 días · The tale of the early days – and of the NKVM – in Munich is spun largely around the figure of its protagonist, Marianne Werefkin (1860-1938, Russian), who hosted gatherings – known as the “Pink Salon” – in her home in Giselastraße, to which she had moved in 1896 with Alexej Jawlensky (1864-1941, Russian).
Hace 6 días · The exhibition suggests that performance provided “safe spaces” for exploring sexuality and gender, framing the room around the Russian dancer Alexander Sacharoff’s and Russian artist Marianne...
23 de abr. de 2024 · Portrait of Marianne von Werefkin by Gabriele Münter, 1909 DACS Her pared-down portrait of one of the group, Jawlensky, listening puzzled to Kandinsky on art theory, must have represented quite a ...
1 de may. de 2024 · The collective was short-lived, lasting only from 1911 to the outbreak of war, and at its heart were the Russians Wassily Kandinsky, Marianne von Werefkin and her partner-protégé Alexej von Jawlensky, and the Germans Gabriele Münter (Kandinsky’s partner) and Franz Marc.
23 de abr. de 2024 · The exhibition brings together all the revolutionary facets of the Blue Rider—including Franz Marc’s colorful and evocative animals, powerful sharp-eyed portraits by Marianne von Werefkin, freestyle performance art by Alexander Sacharoff, forward-thinking photographs by Gabriele Münter, and more.
