Fine Art Poster
From $39
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.
The Hunchback - Alexej von Jawlensky
Regular price
$39.00 USD
Sale price
$39.00 USD
Regular price
Archival giclée
Frames arrive ready to hang
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Made to order
Description
A striking 1905 portrait by Alexej von Jawlensky, featuring bold, non-naturalistic colours and expressive brushwork typical of his early modernist period.
Alexej von Jawlensky painted The Hunchback in 1905, a period when his work underwent a transformation influenced by his contact with the Fauves in Paris. This portrait demonstrates his move away from naturalistic colour palettes towards a more subjective, emotive application of paint. The subject is rendered with a striking yellow complexion, which contrasts sharply against the deep, saturated blues of the background and the sitter's clothing. Jawlensky employs thick, visible brushstrokes that define the contours of the face and the structure of the figure. The background consists of rhythmic, horizontal dabs of blue and turquoise, creating a sense of vibration that pushes the figure forward. The facial features are simplified, focusing on the psychological presence of the sitter rather than anatomical precision. The eyes, rendered in darker tones, provide a steady, contemplative gaze that anchors the composition. This work reflects the artist's interest in the spiritual and emotional potential of colour. By detaching colour from its descriptive function, Jawlensky allows the viewer to engage with the painting as a collection of forms and hues. The composition is tightly cropped, focusing attention entirely on the head and shoulders of the individual. This approach is characteristic of his early twentieth-century portraits, where he sought to capture the essence of his subjects through a synthesis of simplified form and bold, non-naturalistic colour choices. The painting remains a clear example of the transition towards modernism in European art, where the artist's internal vision takes precedence over external reality.
Return policy
Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
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.
Complete The Look
The Hunchback - Alexej von Jawlensky
Regular price
From $39.00 USD
Sale price
From $39.00 USD
Regular price
Fine Art Poster / Small Square (30x30 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.
Our Features
Designed for Lasting Impact
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
- Handle prints with clean, dry hands
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
Made to order
Choose your finish
Every piece is printed to order. These are the five finishes, and what makes each one different.
Fine Art Framed
From $119
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.
Premium Box Frame
From $189
A deeper solid wood frame: 33mm deep with a 20mm face and Perspex glaze. The print sits unmounted for a clean gallery presentation. Black, white or natural.
Canvas
From $59
Hand-stretched canvas with neat gallery-wrapped edges, giving the artwork surface texture and depth. Arrives ready to hang.
Framed Canvas
From $175
Stretched canvas set in a floating wood frame, our most substantial finish. Arrives ready to hang.
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Museum-Quality Materials
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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