Fine Art Poster
From $29
A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Still Life with Bottle, Bread and red Wallpaper with Swallows - Alexej von Jawlensky
Regular price
$29.00 USD
Sale price
$29.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A bold Expressionist still life by Alexej von Jawlensky, featuring simplified forms and a striking red background with swallow motifs.
Alexej von Jawlensky, a Russian painter active in Germany, produced this work during a period of intense experimentation with colour and form. Associated with the Expressionist movement and the Neue Künstlervereinigung München, Jawlensky moved away from traditional representation to focus on the emotional resonance of his subjects. This composition demonstrates his interest in flattening the pictorial space, where the background and foreground merge into a unified, decorative surface.
The work features a domestic scene, yet the objects are reduced to their essential shapes and colours. A bottle and loaf of bread sit upon a table, while the wall behind is adorned with a pattern of swallows. Jawlensky employs a bold, non-naturalistic palette, using heavy brushstrokes to define the forms. The red background, contrasted with the blue of the birds and the yellow of the circular motifs, creates a sense of tension and energy. The swallows, rendered in a simplified, almost schematic manner, act as a rhythmic element that disrupts the stillness of the table objects.
Jawlensky's approach to this still life reflects his broader interest in the spiritual and psychological potential of painting. By stripping away unnecessary detail, he invites the viewer to engage with the pure interaction of colour and shape. The work is characteristic of his pre-war output, where he balanced the influence of French Fauvism with his own search for a more subjective, inner vision. The thick application of paint and the deliberate lack of perspective are hallmarks of his style during this era, showing a departure from the academic traditions of his training. This print captures the raw, immediate quality of the original oil on cardboard, preserving the texture and the directness of his mark-making.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Complete The Look
Still Life with Bottle, Bread and red Wallpaper with Swallows - Alexej von Jawlensky
Regular price
From $29.00 USD
Sale price
From $29.00 USD
Regular price
Fine Art Poster / A4 (21x29.7 cm) / -
Artist Biography
Alexej Von Jawlensky
By 1934, arthritis had locked Jawlensky's fingers and elbows. He clamped the brush between both hands, arms outstretched, and painted roughly a thousand small canvases he called Meditations. They are among the most concentrated devotional images in modern art, produced by a man who could barely move.
Jawlensky was born in Torzhok, Russia, in 1864, the fifth child of a military family. He trained as an officer in the Imperial Guard before abandoning that career in 1889 to study painting under Ilya Repin in St Petersburg. His patron and companion Marianne von Werefkin, herself a successful painter, financed their move to Munich in 1896. There he met Kandinsky, beginning a friendship that would shape both their careers.
Matisse, Van Gogh and Gauguin all pushed Jawlensky toward bolder colour, but his real catalyst was a trip to Provence in 1905 that convinced him colour could carry spiritual weight without representational accuracy. Back in Munich he produced intense, mask-like portraits: the Mystical Heads (1917 to 1919) and Saviour's Faces (1918 to 1920) drew directly on Russian Orthodox icon traditions from his childhood. He studied theosophy, yoga and Rudolf Steiner's anthroposophy, seeking a synthesis of Eastern and Western spiritual practice through paint.
He co-founded the New Munich Artists' Association with Kandinsky and later joined Der Blaue Reiter. In 1924, Emmy Scheyer (whom Jawlensky nicknamed "Galka", Russian for jackdaw) abandoned her own painting career to promote his work in America, forming Die Blaue Vier with Jawlensky, Kandinsky, Klee and Feininger. The First World War had already forced Jawlensky from Germany to Switzerland; he returned to Wiesbaden in 1921 and stayed until his death in 1941, increasingly isolated as the Nazis classified his work as degenerate.
Jawlensky was born in Torzhok, Russia, in 1864, the fifth child of a military family. He trained as an officer in the Imperial Guard before abandoning that career in 1889 to study painting under Ilya Repin in St Petersburg. His patron and companion Marianne von Werefkin, herself a successful painter, financed their move to Munich in 1896. There he met Kandinsky, beginning a friendship that would shape both their careers.
Matisse, Van Gogh and Gauguin all pushed Jawlensky toward bolder colour, but his real catalyst was a trip to Provence in 1905 that convinced him colour could carry spiritual weight without representational accuracy. Back in Munich he produced intense, mask-like portraits: the Mystical Heads (1917 to 1919) and Saviour's Faces (1918 to 1920) drew directly on Russian Orthodox icon traditions from his childhood. He studied theosophy, yoga and Rudolf Steiner's anthroposophy, seeking a synthesis of Eastern and Western spiritual practice through paint.
He co-founded the New Munich Artists' Association with Kandinsky and later joined Der Blaue Reiter. In 1924, Emmy Scheyer (whom Jawlensky nicknamed "Galka", Russian for jackdaw) abandoned her own painting career to promote his work in America, forming Die Blaue Vier with Jawlensky, Kandinsky, Klee and Feininger. The First World War had already forced Jawlensky from Germany to Switzerland; he returned to Wiesbaden in 1921 and stayed until his death in 1941, increasingly isolated as the Nazis classified his work as degenerate.
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Fine Art Framed
From $89
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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