玛丽安娜·冯·韦雷夫金

Mariamna Vladimirovna Veryovkina (10 September [O.S. 29 August] 1860 – 6 February 1938), commonly known as Marianne von Werefkin, was a Russian-born painter, active in Germany and Switzerland during the late Belle Époque and interwar periods. She is particularly known for her Expressionist works.

In Russia 1860–1896

Werefkin was born to Elizabeth (née Daragan; 1834–1885) and Vladimir Nikolayevich Veryovkin (1821–1896), commander of the Yekaterinburg Regiment in Tula, the capital of the Tula Governorate. Her father was of Russian nobility whose ancestors came from Moscow. He made a career in the Imperial Russian Army, becoming a general and finally commander of the Peter and Paul Fortress in Saint Petersburg. Her mother belonged to an old family of Cossack princes, whose father, Lieutenant general Peter Mikhailovich Daragan (1800–1875), was the governor of Tula from 1850 to 1866, the official palace is where her daughter Marianne was born.

In 1874, Werefkin's talent for drawing was discovered. Werefkin immediately received academic drawing lessons. As a teenager, Werefkin had a large studio in the Peter and Paul Fortress and an atelier on her family's summer estate named "Blagodat" (Grace or Blessing) in Lithuania (at that time occupied by Russia). It is located about 7 kilometres northwest of the provincial town of Utena in Vyžuonėlės Park, which was declared a Lithuanian natural monument in 1958. Werefkin regarded the estate and the landscape there as her real home.

In 1880, Werefkin became a private student of Ilya Repin, the most important representative of the Peredvizhniki ("wandering painters"), who represented Russian Realism. Through Repin, Werefkin came into contact with the artists' colony of Abramtsevo and with Valentin Serov, Repin's second private student, at an early stage. From 1883 in Moscow, Werefkin studied painting with Illarion Pryanishnikov and attended lectures by the philosopher Vladimir Solovyov. In 1888, Repin painted a portrait of Werefkin, following a hunting accident in which Werefkin accidentally shot her right hand, the painter's hand.

Werefkin's first artistically important work phase was before 1890 when she made a name for herself in the realistic painting as the "Russian Rembrandt" of the Tsarist Empire. Some works have been preserved, others can only be verified through photos, and many have disappeared. After 1890, Werefkin modernized her painting style and switched to En plein air painting with traits of Eastern European Impressionism. Only two paintings from this period appear to exist.

In 1892 Werefkin entered into a 27-year relationship with Alexej von Jawlensky. Werefkin was more advanced in painting than Jawlensky was and had decided to train and support the penniless military officer who was five years her junior.

In Germany 1896–1914

In 1896, after the death of Werefkin's father, which would provide Werefkin with a noble Tsarist pension of 7,000 rubles per annum, she moved to Munich with her 11-year old lady's maid Helene Nesnakomoff and Jawlensky. Werefkin's annual pension at that time corresponded to around twenty-two thousand German mark. Werefkin's rather young 'lady's maid', Nesnakomoff, had come to the Werefkin's household at age 9, after the death of the child's stepfather who was a local police officer, leaving the mother, who drank heavily, with three children as a beggar. Werefkin's father allowed Helene to come into the household. Her sister, Marie, was placed in a girls' asylum, and her brother stayed with his mother and was a thief […] who could not be changed. Since the mother was unreliable, Werefkin's administrator advised that the mother cede all her child care rights to Werefkin, which she did. Despite Nesnakomoff's tragic circumstance, in return for the warmth and sustenance, she had to earn her keep as an apprentice to Werefkin's [then] lady's maid in Tula.

In Munich, Werefkin rented a comfortable double apartment on the third floor of Giselastrasse 23 in the Schwabing district, which she furnished partly with Empire and Biedermeier style furniture, which she contrasted with folk art furniture made in the workshops of the artist Yelena Polenova (1850-1898) in the artists' colony of Abramtsevo. Werefkin initially entrusted Jawlensky's further education to the Slovenian Anton Ažbe, while interrupting her own painting for exactly ten years in favour of his education. Like many women in art, she subordinated her artistic ambitions to the interests of her lover.

Werefkin knew that Jawlensky was a womanizer: "Love is a dangerous thing, especially in the hands of Jawlensky." Werefkin refused to marry, not least because of the generous pension from the Tsar, which she would have lost if she were a married woman. But Werefkin was determined to support Jawlensky as an artist in every way. In Werefkin's place, Jawlensky was to achieve and realize everything artistically that a 'weak woman' was in any case denied.

“Three years passed in tireless nurturing of his mind and heart. Everything, everything he received from me, I pretended to take - everything I put into him I pretended to receive as a gift... so that he should not be jealous as an artist, I hid my art from him" (Werefkin, quoted from Fäthke 1980:17). Jawlensky's gratitude in return was abusing Werefkin's young lady's maid, with whom Jawlensky was already having a relationship, despite her young age, she modelled for Jawlensky and was madly infatuated with him.

In 1897, Werefkin founded the Brotherhood of St. Luke (Bruderschaft von Sankt Lukas) in her "pink salon", whose members saw themselves in the tradition of the Guild of Saint Luke and which ultimately formed the nucleus of the New Artists' Association Munich (N.K.V.M) and The Blue Rider.

In 1897 Werefkin was in Venice with Ažbe, Jawlensky, Dmitry Kardovsky and Igor Grabar, initially to visit a Repin exhibition. They then studied the painting of old masters in various museums in northern Italy.

In 1902 Werefkin's lady's maid Nesnakomoff, then 17 years old, gave birth to a child from Jawlensky, named Andreas Nesnakomoff (died 1984 - named Andreas Jawlensky after his parents' marriage, later in life he would also become a known artist), at the time of the birth both Nesnakomoff and Jawlensky had returned for more than one year to Russia.……

原文较长，这里只摘了前面一部分，摘自英文维基百科「Marianne von Werefkin」（暂时没有中文条目，下面是英文原文），按 CC BY-SA 4.0 使用，去掉了参考文献、外部链接等尾部小节和表格，其余文字未作改动。