Russian painter noted for his Expressionistic portraits and the mystical tone of his late paintings of abstract faces.

In 1889 Jawlensky gave up an established career in the Russian Imperial Guard to study painting under the Russian historical painter Ilya Repin. In 1896, disenchanted with realism, he moved to Munich, where he met the painter Wassily Kandinsky (Kandinsky, Wassily), who remained a lifelong influence. While in France in 1905, he worked with the Fauvist painter Henri Matisse (Matisse, Henri), whose flat areas of vibrant colour exerted a further influence on his work.

Back in Munich, Jawlensky joined the Neue Künstlervereinigung (“New Artists' Association,” known as the NKV), a loose affiliation of Expressionist artists. He was more sympathetic, however, to the NKV's splinter group, Der Blaue Reiter (Blaue Reiter, Der) (“The Blue Rider”), led by Kandinsky. Jawlensky's association with Der Blaue Reiter led to such works as his “Mme. Turandot” (1912), in which flat areas of vibrant Fauve colour are outlined with simple, thickened contours to produce rich and daring colour harmonies.

During World War I Jawlensky painted his “Variations,” numerous paintings of the view from his window, which exhibit a new calm, meditative mood that culminates in the semiabstract faces he began to paint in 1917. A devout man, Jawlensky imbued these frontally viewed faces, such as his “Looking Within Night” (1923), with a mystical intensity that has led them to be compared to the icons of the Russian Orthodox church.

In 1924 Jawlensky joined Kandinsky, Paul Klee, and Lyonel Feininger in forming a short-lived association called Der Blaue Vier (“The Blue Four”). He exhibited with them for some years, but in the 1930s crippling arthritis forced him to abandon painting.