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During World War I Jawlensky's painting underwent a radical change. In the series ''Variations on an Abstract Theme'' he stylized the view from his windows - a small garden, path, lake, mountains beyond - to a culmination of total intensity. He increasingly regarded the human face as the sign of an inner vision. The latter series ''mystical heads,'' ''Faces of the Saviour,'' and ''Abstract Heads'' pulsate with color and seem to express the combined forces of architecture, music, sculpture and dance.
Introductory matter includes an essay by Angelica Jawlensky on the artist's serial painting, and unpublished correspondance with Kandinsky, Schmidt-Rottluff and Emmy Scheyer.
