Emil Nolde - Blumenstillleben mit Astern, Mohn und Rittersporn, 1950
EMIL NOLDE
Blumenstillleben mit Astern, Mohn und Rittersporn, 1950.
Aquarell
Object description
Still life with flowers with asters, poppies and delphinium . Between 1950-1956.
Watercolor and tempera.
Signed in the right margin. Inscribed "IX" on the reverse. On Japan. 23.8 x 34.1 cm (9.3 x 13.4 in).
With a photo expertise from Prof. Dr. Manfred Reuther, Seebüll Ada and Emil Nolde Foundation, dated March 8, 2005.
PROVENANCE: Private collection, Berlin.
Private collection, Switzerland.
EXHIBITION: Classics of Young Art. Aquarelle-Bilder-Graphics, Galerie Meta Nierendorf, Berlin, June 29-10, 1959, leaflet no. 76. (with ill.).
Emil Hansen was born on August 7, 1867 in the German-Danish border region. He later adopted the name of his hometown Nolde as his stage name. After an apprenticeship as a furniture draftsman and wood carver, he worked for various furniture factories before receiving a position as a teacher for commercial drawing at the trade museum in St. Gallen in 1892, which he held until 1898. Small colored drawings of the Swiss mountains are created here. With the decision to become a painter, Nolde finally goes to Munich, but the academy under Franz von Stuck rejects him. This was followed by studies at Adolf Hölzel's private painting school in Dachau and, from 1899, at the Académie Julian in Paris. In 1900 he rents a studio in Copenhagen and in 1903 moves to the island of Alsen. By dealing with the neo-impressionists Vincent van Gogh, Edvard Munch and James Ensor from 1905 onwards Nolde moved from his initially romantic naturalism to an independent style in which color plays an essential role; The first brightly colored, luminous flower pictures emerge. In 1906, during a stay in Alsen, Nolde met the "Brücke" painters, whose group he temporarily joined. The turn to watercolor begins in a series of portrait studies. When Nolde made his first attempts at this technique in 1909 on non-absorbent paper, leaving large parts of the white sheet and dispensing with contouring in the object detection, these innovations were forward-looking. In 1910, after a controversy with Max Liebermann, Emil Nolde left the "Berlin Secession" excluded and founded the "New Secession" with other rejected artists, in whose exhibitions he participated until 1912. Fascinated less by Berlin city life, which he captures in a few expressive pictures, than by primitivism, Nolde paints still lifes with exotic figures and masked pictures. From an expedition to New Guinea in 1913, he brought back a wealth of study material, which he processed in numerous works until 1915. From 1916 he spent the summer on the island of Föhr and settled in Seebüll in 1928. The garden created there becomes an inexhaustible source of inspiration for his painting, coastal landscapes and religious scenes also become main subjects. Ostracized as an artist by the National Socialists and banned from working since 1941, Nolde paints his "
Especially in the last years of his life, Nolde kept coming back to one of his early motifs, the still life of flowers. What fascinates about these leaves is the, as it were, dreamlike security with which Emil Nolde created his flower watercolors. In particular, but not alone, it is the unusual, almost magical world of colors that creates the secret magic of these leaves. In addition, it is the composition as such that contributes significantly to the intense overall impression. The special technique of wet-on-wet painting, which Nolde perfected in these works, is supplemented here in his late work by the use of tempera colors, which the artist perceives as particularly lightfast, which creates an extremely attractive interplay between glazed and results in strongly opaque picture passages, which in the present sheet particularly expressively accentuates the aster and poppy blossoms. It is therefore not surprising that the floral still lifes, which only take up a relatively small part of the overall work, with their intensely bright and subtly softly coordinated coloring and their particularly charming flower arrangements are a particularly popular group of motifs in the artist's oeuvre today.
Emil Nolde died in Seebüll in 1956. [SM / KP].
Watercolor and tempera.
Signed in the right margin. Inscribed "IX" on the reverse. On Japan. 23.8 x 34.1 cm (9.3 x 13.4 in).
With a photo expertise from Prof. Dr. Manfred Reuther, Seebüll Ada and Emil Nolde Foundation, dated March 8, 2005.
PROVENANCE: Private collection, Berlin.
Private collection, Switzerland.
EXHIBITION: Classics of Young Art. Aquarelle-Bilder-Graphics, Galerie Meta Nierendorf, Berlin, June 29-10, 1959, leaflet no. 76. (with ill.).
Emil Hansen was born on August 7, 1867 in the German-Danish border region. He later adopted the name of his hometown Nolde as his stage name. After an apprenticeship as a furniture draftsman and wood carver, he worked for various furniture factories before receiving a position as a teacher for commercial drawing at the trade museum in St. Gallen in 1892, which he held until 1898. Small colored drawings of the Swiss mountains are created here. With the decision to become a painter, Nolde finally goes to Munich, but the academy under Franz von Stuck rejects him. This was followed by studies at Adolf Hölzel's private painting school in Dachau and, from 1899, at the Académie Julian in Paris. In 1900 he rents a studio in Copenhagen and in 1903 moves to the island of Alsen. By dealing with the neo-impressionists Vincent van Gogh, Edvard Munch and James Ensor from 1905 onwards Nolde moved from his initially romantic naturalism to an independent style in which color plays an essential role; The first brightly colored, luminous flower pictures emerge. In 1906, during a stay in Alsen, Nolde met the "Brücke" painters, whose group he temporarily joined. The turn to watercolor begins in a series of portrait studies. When Nolde made his first attempts at this technique in 1909 on non-absorbent paper, leaving large parts of the white sheet and dispensing with contouring in the object detection, these innovations were forward-looking. In 1910, after a controversy with Max Liebermann, Emil Nolde left the "Berlin Secession" excluded and founded the "New Secession" with other rejected artists, in whose exhibitions he participated until 1912. Fascinated less by Berlin city life, which he captures in a few expressive pictures, than by primitivism, Nolde paints still lifes with exotic figures and masked pictures. From an expedition to New Guinea in 1913, he brought back a wealth of study material, which he processed in numerous works until 1915. From 1916 he spent the summer on the island of Föhr and settled in Seebüll in 1928. The garden created there becomes an inexhaustible source of inspiration for his painting, coastal landscapes and religious scenes also become main subjects. Ostracized as an artist by the National Socialists and banned from working since 1941, Nolde paints his "
Especially in the last years of his life, Nolde kept coming back to one of his early motifs, the still life of flowers. What fascinates about these leaves is the, as it were, dreamlike security with which Emil Nolde created his flower watercolors. In particular, but not alone, it is the unusual, almost magical world of colors that creates the secret magic of these leaves. In addition, it is the composition as such that contributes significantly to the intense overall impression. The special technique of wet-on-wet painting, which Nolde perfected in these works, is supplemented here in his late work by the use of tempera colors, which the artist perceives as particularly lightfast, which creates an extremely attractive interplay between glazed and results in strongly opaque picture passages, which in the present sheet particularly expressively accentuates the aster and poppy blossoms. It is therefore not surprising that the floral still lifes, which only take up a relatively small part of the overall work, with their intensely bright and subtly softly coordinated coloring and their particularly charming flower arrangements are a particularly popular group of motifs in the artist's oeuvre today.
Emil Nolde died in Seebüll in 1956. [SM / KP].
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