Stillleben mit Tuch, Blumen im Krug, Apfel und Behälter auf Tisch

Born in Russia but deeply connected to the German Expressionist movement, this painter’s work evolved from bold, vibrant portraits to increasingly abstract, meditative forms. Early influences included the Fauvists, particularly Matisse, whose explosive color palette resonated deeply. After relocating to Munich, he became a key figure in the *Blaue Reiter* group alongside Kandinsky and Marc, though his approach remained distinct—less theoretical, more visceral. His signature "Heads" series, begun during World War I, reduced human faces to near-iconic simplicity: arched brows, almond eyes, and a palette that shifted from fiery reds to muted blues as his spiritual focus deepened. Exile in Switzerland during the war years marked a turning point. Confined by arthritis in later life, he turned to small-format "Meditations," where faces dissolved into pure color and line, hovering between representation and abstraction. Unlike Kandinsky’s geometric rigor, his abstractions throbbed with an almost mystical intensity, as if each stroke sought to capture not a face but a soul. Critics sometimes dismissed his later work as repetitive, yet the narrowing of his scope—like a monk refining a single prayer—revealed a profound commitment to inner vision. By the 1930s, Nazis labeled his art "degenerate," but the quiet radicalism of those final pieces, with their luminous, fractured planes, quietly influenced postwar abstraction. His legacy lingers in the way color can conjure presence, a whisper of the divine in a handful of brushstrokes.