26 November 2014
In die Nacht hinein..., signed with a monogram.
Gouache and tempera on paper, laid on cardboard, 75 by 102 cm.
Executed c. 1910.
Provenance: Galerie Chichio Haller, Zurich.
Acquired from the above by the family of the previous owner in 1969.
Private collection, Switzerland.
Private collection, Europe.
Exhibited: Neue Künstlervereinigung München E.V. Turnus 1910–11, Moderne Galerie, Munich, 1–14 September 1910, No. 94 (label on the reverse).
XIII Jahrgang, VI Ausstellung, Paul Cassirer, Berlin, January–February 1911, No. 50.
Deutscher Künstlerbund. Große Ausstellung, Kunsthalle Bremen, Bremen, 1 February–31 March 1912, No. 234 (label on the reverse).
Marianne Werefkin. Gemälde und Skizzen, Museum Wiesbaden, Wiesbaden, 28 September–23 November 1980, No. 35.
Marianne Werefkin. Leben und Werk, Ascona, Munich, Hanover, Berlin, Bad Homburg, Hamburg, 1988–1990, No. 45.
Literature: Exhibition catalogue, Neue Künstlervereinigung München E.V. Turnus 1910–11, Munich, 1911, p. 37, illustrated; p. 36, No. 94, listed.
Exhibition catalogue, Deutscher Künstlerbund. Große Ausstellung, Bremen, 1912, No. 234, listed.
Exhibition catalogue, Marianne Werefkin. Gemälde und Skizzen, Wiesbaden, 1980, p. 82, No. 35, illustrated.
Exhibition catalogue, Marianne Werefkin. Leben und Werk, Munich, Prestel, 1988, No. 45, illustrated and listed.
Marianne Werefkin’s composition In die Nacht hinein... comes from her suite of exceptionally interesting, valuable theatrical works painted in 1910. The entire suite comprises no more than a few tempera paintings from that milestone period in the history of art when the “Russian baroness” achieved the peak of her influence over the Munich colony of modernist artists, determining to a great extent the visual language and artistic trends of the 20th century. The two years that Werefkin spent in Murnau with Alexei Jawlensky, Vasily Kandinsky and Gabriele Münter led to the creation in 1909 of the Neue Künstlervereinigung, precursor to the celebrated Blaue Reiter group.
In die Nacht hinein... , like another tempera composition from the same cycle published in Otto Fischer’s 1912 book Das neue Bild, was in all probability inspired by one of the Shakespeare tragedies put on in Murnau and possibly depicts a scene from King Lear.
This work has a fairytale atmosphere and an intelligible symbolic message underlying the scene playing out on stage. These qualities, together with the strangeness of the bench seats bereft of an audience, owe much to the tense, mystical lilac-blue colouring of the painting and convey Werefkin’s dramatic perception of the world and the meaning which she invested in colour as a means of imbuing her painting with psychological animation.
Notes on symbols:
* Indicates 5% Import Duty Charge applies.
Ω Indicates 20% Import Duty Charge applies.
§ Indicates Artist's Resale Right applies.
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