Landschaft am Genfersee c. 1914

Editor: We’re looking at Alexej von Jawlensky’s "Landschaft am Genfersee," or "Landscape at Lake Geneva," from around 1914, an oil painting. There's a real energy in those thick strokes, it feels less like a depiction of a landscape and more like a...mood. How do you read this piece? Curator: Note how the artist manipulates form through colour and texture. Jawlensky abandons representational accuracy in favour of a calculated interplay of hues. See how the juxtaposition of blues and greens in the 'foliage' create depth without relying on traditional perspective. Editor: So, it's more about the formal relationship between the colors themselves, rather than trying to recreate a realistic scene? Curator: Precisely. Consider the application of paint itself: the impasto creates a tactile surface, heightening the visual experience. Each brushstroke is a deliberate act, contributing to the overall composition and rhythmic quality. What is the impact of the limited palette on your perception? Editor: The limited colors make it more intense. It's almost like the painting is vibrating with this restrained energy. Curator: Yes! Notice also how he emphasizes flatness; the planes of colour push against each other, denying any illusion of deep space. Editor: I see that now. It’s almost like the landscape is being brought forward, toward the viewer. It really focuses on the immediate sensory impact. Thanks for walking me through that! Curator: My pleasure. Through this painting, we gain insights into Jawlensky’s explorations of form, colour and the materiality of paint, divorced from the constraints of mimetic representation.