Emil Nolde - Herbstwolken, Friesland, 1929
Emil Nolde Herbstwolken, Friesland, 1929 Autumn clouds, Friesland . 1929. Oil on canvas. Urban 1085. Signed lower right. 73.5 x 106.5 cm (28.9 x 41.9 in)
Object description
Autumn clouds, Friesland . 1929.
Oil on canvas.
Urban 1085. Signed lower right. 73.5 x 106.5 cm (28.9 x 41.9 in). [SM].
PROVENANCE: Dr. Carl Henes, Hagen (acquired directly from the artist in 1929).
Bernhard Sprengel, Hanover (acquired from the aforementioned in 1941 through the mediation of the art dealers Hans Trojanski and Günther Franke).
Private collection, Hessen (through a family donation from the aforementioned).
EXHIBITION: Emil Nolde, Kunstverein Hamburg, 7.8.-21.9.1947, No. 18.
Emil Nolde, Kestner-Gesellschaft, Hanover, October-November 1948, No. 19.
XXV. Biennale, German Pavilion Venice June 8th-October 15th, 1950, No. 125 (with the label on the reverse).
Emil Nolde, Kunsthalle Mannheim, April 20-21, 1952, No. 8.
Emil Nolde, Kunsthalle Kiel, June 22-27, 1952, No. 25.
German art. Masterpieces of the 20th Century, Kunstmuseum Luzern, 4.7.-2.10.1953, No. 113.
Documenta 1, Fridericianum Kassel, 15.7.-18.9.1955, No. 498.
100 Years of German Painting. 1850-1950, Tate Gallery, London April 25th-June 10th, 1956, No. 204.
Emil Nolde Memorial Exhibition, Kunstverein Hamburg, April 27th-June 16th, 1957; Museum Folkwang, Essen June 29 - September 1, 1957; Haus der Kunst, Munich, September 24th-December 1st, 1957, No. 147.
Emil Nolde, Charlottenborg Palace, Copenhagen, April 18th-4th, 1958, No. 67.
Emil Nolde, Stedelijk Museum, Amsterdam May 30th-7th, 1958, No. 48.
Emil Nolde, Kunstverein Frankfurt am Main, 1.8.-15.9.1958, No. 32.
Emil Nolde (1867-1956), Kunsthaus Zürich, 11.10.-9.11.1958, No. 53.
Emil Nolde - Oil painting-watercolors-drawings, Kunstverein Hannover, 16.7.-3.9.1961, No. 45.
Sprengel Collection, Kunstverein Hannover , Kestnergesellschaft Hanover, Lower Saxony State Museum, 10.10.-28.11.1965, No. 230.
Emil Nolde. Paintings, watercolors, drawings and prints, Kunsthalle Köln, February 10-20, 1973, No. 95.
Emil Nolde and the Sprengel Collection 1937-1956. History of friendship, Sprengel Museum, Hanover, April 18-22, 1999.
LITERATURE: Hans Platte, painting. Series: The Art of the 20th Century, Munich, Hamburg 1957, p. 184 (ill.).
Emil Nolde. Memorial exhibition, exhibition cat. Kunstverein Hamburg, April 27th-June 16th, 1957, No. 147 (ill.)
Art calendar. Inter Nationes, Stuttgart 1971 (with color illus.).
Westermann texts in German. Revised version of R7 (textbook). Westermann, Braunschweig 1983 (with color illus. P. 169).
Markus Heinzelmann, Emil Nolde and the Sprengel Collection 1937 to 1956. History of a Friendship, Hanover 1999, pp. 43f, 68, 81, 245, 285, with illus. P. 98.
Vanessa-Maria Voigt, art dealer and collector of modernism under National Socialism. The Sprengel Collection 1934 to 1945, Berlin 2007, pp. 53, 175-177, with color illus. Plate 2.
Maike Steinkamp, Ute Haug (eds.), Works and Values. About trading and collecting art under National Socialism. Series: Writings of the research center "Degenerate Art", Volume V. Berlin 2010, p. 140 with illus. P. 141.
"We stood looking on our Seebüll terp, the whole wide vault of the sky above us, even more than rounding the semicircle, because it is strange how much a small elevation in the flat plain enlarges the arc of the sky."
Emil Nolde, quoted from: Festschrift for the opening of the exhibition in 1957 at Seebüll. Ada and Emil Nolde in memory, p. 31.
"At that time we could have lowered our wings in Copenhagen, Zurich, Paris or Florence, but Germany attracted us, and I also wanted to stay true to my dear Schleswig-Holstein with its - my - nature. On long hikes and We had been looking for a house or a place to drive along the west coast of Schleswig-Holstein and around Hamburg. We found nothing. Our special requirements, which were not big at all, were unsatisfied on Peter Jensen's mark, stood in amazement when a young horse galloped around us and the sky clouds were so wonderful, floating over the water, we both looked at each other understandingly, and my Ada said: "Here is our place ! «"
Emil Nolde, quoted from: Mein Leben, p. 410.
Oil on canvas.
Urban 1085. Signed lower right. 73.5 x 106.5 cm (28.9 x 41.9 in). [SM].
PROVENANCE: Dr. Carl Henes, Hagen (acquired directly from the artist in 1929).
Bernhard Sprengel, Hanover (acquired from the aforementioned in 1941 through the mediation of the art dealers Hans Trojanski and Günther Franke).
Private collection, Hessen (through a family donation from the aforementioned).
EXHIBITION: Emil Nolde, Kunstverein Hamburg, 7.8.-21.9.1947, No. 18.
Emil Nolde, Kestner-Gesellschaft, Hanover, October-November 1948, No. 19.
XXV. Biennale, German Pavilion Venice June 8th-October 15th, 1950, No. 125 (with the label on the reverse).
Emil Nolde, Kunsthalle Mannheim, April 20-21, 1952, No. 8.
Emil Nolde, Kunsthalle Kiel, June 22-27, 1952, No. 25.
German art. Masterpieces of the 20th Century, Kunstmuseum Luzern, 4.7.-2.10.1953, No. 113.
Documenta 1, Fridericianum Kassel, 15.7.-18.9.1955, No. 498.
100 Years of German Painting. 1850-1950, Tate Gallery, London April 25th-June 10th, 1956, No. 204.
Emil Nolde Memorial Exhibition, Kunstverein Hamburg, April 27th-June 16th, 1957; Museum Folkwang, Essen June 29 - September 1, 1957; Haus der Kunst, Munich, September 24th-December 1st, 1957, No. 147.
Emil Nolde, Charlottenborg Palace, Copenhagen, April 18th-4th, 1958, No. 67.
Emil Nolde, Stedelijk Museum, Amsterdam May 30th-7th, 1958, No. 48.
Emil Nolde, Kunstverein Frankfurt am Main, 1.8.-15.9.1958, No. 32.
Emil Nolde (1867-1956), Kunsthaus Zürich, 11.10.-9.11.1958, No. 53.
Emil Nolde - Oil painting-watercolors-drawings, Kunstverein Hannover, 16.7.-3.9.1961, No. 45.
Sprengel Collection, Kunstverein Hannover , Kestnergesellschaft Hanover, Lower Saxony State Museum, 10.10.-28.11.1965, No. 230.
Emil Nolde. Paintings, watercolors, drawings and prints, Kunsthalle Köln, February 10-20, 1973, No. 95.
Emil Nolde and the Sprengel Collection 1937-1956. History of friendship, Sprengel Museum, Hanover, April 18-22, 1999.
LITERATURE: Hans Platte, painting. Series: The Art of the 20th Century, Munich, Hamburg 1957, p. 184 (ill.).
Emil Nolde. Memorial exhibition, exhibition cat. Kunstverein Hamburg, April 27th-June 16th, 1957, No. 147 (ill.)
Art calendar. Inter Nationes, Stuttgart 1971 (with color illus.).
Westermann texts in German. Revised version of R7 (textbook). Westermann, Braunschweig 1983 (with color illus. P. 169).
Markus Heinzelmann, Emil Nolde and the Sprengel Collection 1937 to 1956. History of a Friendship, Hanover 1999, pp. 43f, 68, 81, 245, 285, with illus. P. 98.
Vanessa-Maria Voigt, art dealer and collector of modernism under National Socialism. The Sprengel Collection 1934 to 1945, Berlin 2007, pp. 53, 175-177, with color illus. Plate 2.
Maike Steinkamp, Ute Haug (eds.), Works and Values. About trading and collecting art under National Socialism. Series: Writings of the research center "Degenerate Art", Volume V. Berlin 2010, p. 140 with illus. P. 141.
"We stood looking on our Seebüll terp, the whole wide vault of the sky above us, even more than rounding the semicircle, because it is strange how much a small elevation in the flat plain enlarges the arc of the sky."
Emil Nolde, quoted from: Festschrift for the opening of the exhibition in 1957 at Seebüll. Ada and Emil Nolde in memory, p. 31.
"At that time we could have lowered our wings in Copenhagen, Zurich, Paris or Florence, but Germany attracted us, and I also wanted to stay true to my dear Schleswig-Holstein with its - my - nature. On long hikes and We had been looking for a house or a place to drive along the west coast of Schleswig-Holstein and around Hamburg. We found nothing. Our special requirements, which were not big at all, were unsatisfied on Peter Jensen's mark, stood in amazement when a young horse galloped around us and the sky clouds were so wonderful, floating over the water, we both looked at each other understandingly, and my Ada said: "Here is our place ! «"
Emil Nolde, quoted from: Mein Leben, p. 410.
essay
"Autumn clouds, Friesland": the view from the window of Nolde's house in Seebüll into the Hüllenoffer Tief - and so much more than that. In this landscape painting, nature is mystically exaggerated, the colors are detached from the object, the forms of relational fields of force are more human Become feelings. The lower area of the picture shows the gentle flow of contrasting color surfaces. Green marshland hugs the orange reflection of the setting sun in the water. In the sky zone, on the other hand, wild forces of nature are raging: above the deep, sulfur-yellow rainy horizon, bright orange glow, black-gray cloud towers and glistening sky blue swirl in powerful brushstrokes, spraying and violent in their wealth of associations. If one does not suspect a living nature here, as it has been to be found again and again in art history since the end of the Middle Ages? Don't the cloud formations form the faces of two primeval, fire-breathing beings? And can't their struggle illustrate the unsettled period of upheaval between Blutmai and Black Friday in which this work was created? Whatever the viewer may read in these forces of nature, Emil Nolde's mystical conception of nature is right here in front of his eyes: "Everything primal and primal always captivated my senses. The great roaring sea is still in its primal state, the wind, the sun, yes the starry sky is probably almost as it was fifty thousand years ago. " (Emil Nolde, Mein Leben, Cologne 2008, p. 225). fire-breathing beings? And can't their struggle illustrate the unsettled period of upheaval between Blutmai and Black Friday in which this work was created? Whatever the viewer may read in these forces of nature, Emil Nolde's mystical conception of nature is right here in front of his eyes: "Everything primal and primal always captivated my senses. The great roaring sea is still in its primal state, the wind, the sun, yes the starry sky is probably almost as it was fifty thousand years ago. " (Emil Nolde, Mein Leben, Cologne 2008, p. 225). fire-breathing beings? And can't their struggle illustrate the unsettled period of upheaval between Blutmai and Black Friday in which this work was created? Whatever the viewer may read in these forces of nature, Emil Nolde's mystical conception of nature is right here in front of his eyes: "Everything primal and primal always captivated my senses. The great roaring sea is still in its primal state, the wind, the sun, yes the starry sky is probably almost as it was fifty thousand years ago. " (Emil Nolde, Mein Leben, Cologne 2008, p. 225). Emil Nolde's mystical conception of nature is right in front of his eyes: "Everything primal and primal beings always captivated my senses. The great roaring sea is still in its primal state, the wind, the sun, yes the starry sky almost exactly as it was before fifty thousand years ago. " (Emil Nolde, Mein Leben, Cologne 2008, p. 225). Emil Nolde's mystical conception of nature is right in front of his eyes: "Everything primal and primal beings always captivated my senses. The great roaring sea is still in its primal state, the wind, the sun, yes the starry sky almost exactly as it was before fifty thousand years ago. " (Emil Nolde, Mein Leben, Cologne 2008, p. 225).
A very special collector also appreciates Nolde's pictures of nature: Bernhard Sprengel. For the founding father of the Hanoverian Sprengel Museum, the vicious exhibition “Degenerate Art” from 1937 is nothing less than an awakening experience in which he learns to love the explosive landscapes of Nolde. Under the most adverse circumstances and more than once with true heroism, Sprengel has put together an outstanding collection. He saved many masterpieces of his friend and favorite painter Emil Nolde from certain destruction by the National Socialists. In 1941 “Herbstwolken, Friesland” became part of his collection. The collector thanked the art dealer Franke, who sold Sprengel the work from the private collection of the evangelical surgeon Carl Henes, in a letter and added: “I am convinced that
Until the end of the war, Sprengel had to keep “Herbstwolken, Friesland” like the other works in his collection in secret. But then, finally, he can show his treasures. "Herbstwolken, Friesland" can soon be seen at numerous important exhibitions, including such epochal international shows as the Venetian Biennale in 1950, the first Documenta (1955) or "100 Years of German Painting" at the Tate Gallery, London (1956) - Stations of a liberated masterpiece. [AT]
A very special collector also appreciates Nolde's pictures of nature: Bernhard Sprengel. For the founding father of the Hanoverian Sprengel Museum, the vicious exhibition “Degenerate Art” from 1937 is nothing less than an awakening experience in which he learns to love the explosive landscapes of Nolde. Under the most adverse circumstances and more than once with true heroism, Sprengel has put together an outstanding collection. He saved many masterpieces of his friend and favorite painter Emil Nolde from certain destruction by the National Socialists. In 1941 “Herbstwolken, Friesland” became part of his collection. The collector thanked the art dealer Franke, who sold Sprengel the work from the private collection of the evangelical surgeon Carl Henes, in a letter and added: “I am convinced that
Until the end of the war, Sprengel had to keep “Herbstwolken, Friesland” like the other works in his collection in secret. But then, finally, he can show his treasures. "Herbstwolken, Friesland" can soon be seen at numerous important exhibitions, including such epochal international shows as the Venetian Biennale in 1950, the first Documenta (1955) or "100 Years of German Painting" at the Tate Gallery, London (1956) - Stations of a liberated masterpiece. [AT]
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