Art May 2017
On “Alexei Jawlensky” at the Neue Galerie, New York.
Among the initial observations prompted by “Alexei Jawlensky” at the Neue Gallery—the first U.S. retrospective devoted to the Russian-born Expressionist—is that Jawlensky was a better Van Gogh than Van Gogh himself. Toward the beginning of the exhibition, viewers encounter Portrait of Marie Castell (1906), a canvas that could be mistaken for the real thing. The thickly applied brushstrokes, acidic colors, stiffly rendered contour, flattened composition, and prole-ish character of Castell—poor Vincent couldn’t have done as well. And, in significant ways, he didn’t. Sure, Jawlensky followed on the heels of Post-Impressionism; pictorial tics that were revolutionary ten to fifteen years earlier were, if not outmoded, then accepted by advanced painters. Still, it’s worth noting how adept Jawlensky is at navigating space,...
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