Emil Nolde - Holzfigur (Judas), 1913
EMIL NOLDE
Holzfigur (Judas), 1913.
Öl auf Leinwand
Object description
Wooden figure (Judas) . 1913.
Oil on canvas.
Urban 548. Signed lower left. 88 x 38.5 cm (34.6 x 15.1 in).
In the personal catalog raisonné: "1910c no. 462" and "1930 '1913 Holzfigur (Judas)'". There is a preliminary drawing for the painting that is much more based on the medieval wooden sculpture.
PROVENANCE: Hermann Krause, Halle (1926).
Georg Zacharias, Düsseldorf.
Wirtz-Häner, Düsseldorf (received from the aforementioned).
Christie's Düsseldorf, November 14th, 1973, cat.-no. 27 with illus.
Private collection Krefeld.
EXHIBITION: Emil Nolde. Neue Kunst Fides, Dresden, August / September 1926.
Oil on canvas.
Urban 548. Signed lower left. 88 x 38.5 cm (34.6 x 15.1 in).
In the personal catalog raisonné: "1910c no. 462" and "1930 '1913 Holzfigur (Judas)'". There is a preliminary drawing for the painting that is much more based on the medieval wooden sculpture.
PROVENANCE: Hermann Krause, Halle (1926).
Georg Zacharias, Düsseldorf.
Wirtz-Häner, Düsseldorf (received from the aforementioned).
Christie's Düsseldorf, November 14th, 1973, cat.-no. 27 with illus.
Private collection Krefeld.
EXHIBITION: Emil Nolde. Neue Kunst Fides, Dresden, August / September 1926.
essay
This traumatic experience also left its mark on his oeuvre. Not only did he find a new way of painting, he also turned increasingly to biblical themes in the following years. His design is completely new and far from any ingratiation to the old masters. Nolde chooses powerful colors in what can be called rough brush strokes, as they are shocking for the contemporary audience.
Our painting shows the wooden sculpture of Judas, which is transposed from the three-dimensionality of the sculpture into a two-dimensional color surface painting as the sole pictorial object. Nolde no longer interprets Judas as an excluded person, as a traitor, but as a grinning individual who triumphantly carries his wallet in front of him. In the paintings "Last Supper" and "Mockery" he also finds unusual interpretations of biblical themes that were strictly rejected by his contemporaries. The painting "Pentecost" (today the National Gallery Berlin) ultimately leads to Nolde's exclusion from the 'Berlin Secession'. Today the works of this phase are among the most important of Expressionism.
Our painting shows the wooden sculpture of Judas, which is transposed from the three-dimensionality of the sculpture into a two-dimensional color surface painting as the sole pictorial object. Nolde no longer interprets Judas as an excluded person, as a traitor, but as a grinning individual who triumphantly carries his wallet in front of him. In the paintings "Last Supper" and "Mockery" he also finds unusual interpretations of biblical themes that were strictly rejected by his contemporaries. The painting "Pentecost" (today the National Gallery Berlin) ultimately leads to Nolde's exclusion from the 'Berlin Secession'. Today the works of this phase are among the most important of Expressionism.
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