Alexej von Jawlensky was trained in his native Russia. From the beginning until late in his career, he painted a lot of landscapes, Tartar steppes and still lifes on rags. He became very close to Western avant-gardists such as Vassily Kandinsky, Paul Sérusier, Franz Marc, Emil Nolde, Jean Arp and Marie Laurencin, whom he met on his many trips to Europe. Jawlensky opened the dialogue between East and West, which was very divided at the time. It was a real artistic exchange that took place, an interactivity that allowed artists to draw their inspiration from both sides of the geographical border. If Jawlensky is a milestone between these two opposing worlds, he is also at the junction of the 19th and 20th centuries, a pivotal period in the history of art. The sudden shift from figuration to abstraction turned the international artistic landscape upside down. Everything happened very quickly, and avant-garde artistic movements continued to grow and overlap, both temporally and geographically. This chronological and thematic retrospective will give you a better understanding of this crucial period in the history of art through the singular works of Jawlensky, who is little known in France and yet so important.