I now began to search for a new path in art [from 1914, with the outbreak of World War 1.]. It was a major task. I understood that I did not have to … - Alexej von Jawlensky

This acquaintance [with Marianne Werefkin ] would change my life. I became a friend of hers, of this clever woman gifted with genius.

At first I intended to carry on working in Saint-Prex [in Switzerland, circa 1914 – 1915] in the same way I had been working in Munich [the location of his Blaue Reiter / Blue Rider period]. But something inside me prevented me from painting colourful, sensuous pictures. Suffering had changed my soul, telling me to find other forms and colours to express what was on my mind.

This Spring of 1911 Marianne von Werefkin [his former study-mate in Russia and in fact his life-comapnion for many years, but never married] Andrei, Helene and I went to Prerow on the Baltic [coast]. For me that summer meant a great step forward in my art. I painted my finest landscapes there as well as large figure paintings in powerful, glowing colours and not at all naturalistic or objective. I used a great deal of red, blue, orange, cadmium yellow and chromium-oxide green. My forms were very strongly contoured in Prussian blue, and came with tremendous power from an inner ecstasy. 'Der Buckel', 'Violetter Turban', 'Selbstporträt'.. ..were created in this way. It was a turning-point in my art. It was in these years, up to 1914, just before the war [World War 1.], that I painted my most powerful works, referred to as the pré-war works.