Woman's Head "Medusa"
The original work by Alexej von Jawlensky is preserved at the Museum of Fine Arts in Lyon, France. “Woman's Head - Medusa" is a two-dimensional vision of a female face that looks at us with wide eyes, pretending naivety, while intense colours light up every side of her face to reveal ingenuity and emotions.
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- cm. 60x80
- 1 - Characteristics and Properties
- Fir wood frame with rounded edges of cm. 3.0 thickness
- 2 - Characteristics and Properties
- Ready to hang
- 3 - Characteristics and Properties
- Edges are finished on the sides
- 4 - Characteristics and Properties
- Full HD print on washable, UV-resistant canvas
- Imported product
The original work by Alexej von Jawlensky is preserved at the Museum of Fine Arts in Lyon, France. “Woman's Head - Medusa" is a two-dimensional vision of a female face that looks at us with wide eyes, pretending naivety, while intense colours light up every side of her face to reveal ingenuity and emotions. Deeply dissatisfied with the banal artistic life in his country of origin, Russia, Jawlensky travelled a lot, looking for new sources of inspiration. Representative of German expressionism, he remained, unlike other members of the current, almost unknown in Italy. He was fascinated by the human face, not so much as a person's unmistakable expression, but rather as an archetype. Attracted by the sacred icons, he shows the symbolism in this work: the face is abstract, the horizontal line of the two eyes and the vertical line of the nose form a cross: symbol of the suffering and of the potential liberation of man. The shapes of the face are reduced to some very essential black brushstrokes, the almond eyes are disproportionate and remind us of the petrifying power of Medusa, the figure of Greek mythology that means "protector". The female face is isolated from the surrounding environment through the use of a marked black line, to surround her face. Jawlensky's painting language was influenced by the discovery of the post-impressionist art of Van Gogh, Cezanne and Matisse, which he met during his trip to France. Thanks to these models he oriented himself towards an expressionist mode of painting: strong, pure colours, with risky combinations, with a strong psychic connotation, spread in large surfaces enclosed within thick dark lines that, as simple contours, become strongly emotional signs, able to delineate the expression of inner forces.