1910 (ca.), Erma Bossi, Portrait of Marianne Werefkin -- Royal Academy of Arts (London)
From the museum label: Some scholars have suggested this painting could in fact be a self-portrait, though the title suggests otherwise. The two artists met in Munich; Bossi came from the Italian- speaking Trieste, then part of the Austro-Hungarian Empire, while Werefkin arrived from St Petersburg in 1896, already an accomplished artist in the Russian realist tradition.
Surprisingly, Werefkin ceased painting for a decade, instead supporting the artistic career of her partner, the painter Alexei Jawlensky. She resumed in 1906 having reinvented her approach, partly through writing her diary-like 'Letters to an Unknown', which wove personal reflections together with ideas on aesthetics and society.
1910 (ca.), Erma Bossi, Portrait of Marianne Werefkin -- Royal Academy of Arts (London)
From the museum label: Some scholars have suggested this painting could in fact be a self-portrait, though the title suggests otherwise. The two artists met in Munich; Bossi came from the Italian- speaking Trieste, then part of the Austro-Hungarian Empire, while Werefkin arrived from St Petersburg in 1896, already an accomplished artist in the Russian realist tradition.
Surprisingly, Werefkin ceased painting for a decade, instead supporting the artistic career of her partner, the painter Alexei Jawlensky. She resumed in 1906 having reinvented her approach, partly through writing her diary-like 'Letters to an Unknown', which wove personal reflections together with ideas on aesthetics and society.