Emil Nolde - Mädchen mit blauem Haar, ca. 1920-25

 

EMIL NOLDE

Mädchen mit blauem Haar, Ca. 1920/1925.

Aquarell

Object description

Girl with blue hair . 1920/1925.
Watercolor.
Signed lower right. On Japan. 46.5 x 35.7 cm (18.3 x 14 in), size of sheet.

With a photo expertise from Prof. Dr. Manfred Reuther, former director of the Ada and Emil Nolde Foundation, Klockries, dated May 2, 2018. The work is registered in his archive under the number "Nolde A - 82/2018".

PROVENANCE: Galerie Vömel, Düsseldorf.
Collection Dr. Hugo and Madeleine Simons, Rhineland, later Montreal, Canada (acquired from aforementioned between 1926 and 1933, since then in family ownership).

EXHIBITION: The Simons Collection, Goethe House, Montreal 1964.

"What are laws? What is arbitrariness and licentiousness? Every real artist creates new values, new beauty, and new laws arise [...]. What he brings new and beautiful becomes because it does not subordinate itself to the previous laws lets, as 'arbitrariness', as 'licentiousness'. These are the reproaches from which all genius suffers. "
Emil Nolde (quoted from: Hans Fehr, Emil Nolde - A Book of Friendship, p. 42, 1957)

essay

Emil Nolde's portraits convey a lot of the painter's attitude to life. Almost shy of people, the way he lives with his wife Ada in Seebüll, he has occasionally painted portraits, mostly young women who, against an imaginary background, fill the picture surface large and mysterious. As anonymous as the portrayed have remained, as mystically transfigured as Nolde sees them, they are at the same time aloof and present. On October 9, 1926, Emil Nolde wrote: "The artist is a sensitive, noisy creature, often suffering, consuming himself with longing. People are almost all his enemies, his friends, his neighbors the worst. The artist lives behind walls, timeless, seldom in flight, often in the snail shell. He loves the strange, deepest natural occurrences, but also the bright, open reality, the moving clouds, blooming glowing flowers, the creature. Unknown, unnamed people are his friends "(quoted from: Ernst Gosebruch, Emil Nolde, Lübeck 1947, p. 2). Something of this painful escape from the world can also be seen in his portraits The figure of the girl has grown out of the free flow of colors without preliminary drawings or graphic elements. The delicate colors and the partly white sheet as a deliberate design element underline the fragility of the sitter. It dominates a composition, which is not lacking in the forcefulness of the design. Here, too, Nolde proves his sovereignty in handling the watercolor, which finds its fulfillment in an unusually light appearance for Nolde. [SM] Ernst Gosebruch, Emil Nolde, Lübeck 1947, p. 2). Something of this painful escape from the world can also be seen in his portraits. The sitter appears almost enraptured, caused by the figure, which is almost only outlined. The portrait of the girl has grown directly from the free flow of colors without any preliminary drawings or graphic elements. The delicate colors and the partly white leaf as a desired design element underline the fragility of the depicted. It dominates a composition that is not lacking in the forcefulness of the design. Here, too, Nolde proves his sovereignty in dealing with the watercolor, which finds its fulfillment in an unusually light appearance for Nolde. [SM] Ernst Gosebruch, Emil Nolde, Lübeck 1947, p. 2). Something of this painful escape from the world can also be seen in his portraits. The sitter appears almost enraptured, caused by the figure, which is almost only outlined. The portrait of the girl has grown directly from the free flow of colors without any preliminary drawings or graphic elements. The delicate colors and the partly white leaf as a desired design element underline the fragility of the depicted. It dominates a composition that is not lacking in the forcefulness of the design. Here, too, Nolde proves his sovereignty in dealing with the watercolor, which finds its fulfillment in an unusually light appearance for Nolde. [SM] Something of this painful escape from the world can also be seen in his portraits. The sitter appears almost enraptured, caused by the figure, which is almost only outlined. The portrait of the girl has grown directly from the free flow of colors without any preliminary drawings or graphic elements. The delicate colors and the partly white leaf as a desired design element underline the fragility of the depicted. It dominates a composition that is not lacking in the forcefulness of the design. Here, too, Nolde proves his sovereignty in dealing with the watercolor, which finds its fulfillment in an unusually light appearance for Nolde. [SM] Something of this painful escape from the world can also be seen in his portraits. The sitter appears almost enraptured, caused by the figure, which is almost only outlined. The portrait of the girl has grown directly from the free flow of colors without any preliminary drawings or graphic elements. The delicate colors and the partly white leaf as a desired design element underline the fragility of the depicted. It dominates a composition that is not lacking in the forcefulness of the design. Here, too, Nolde proves his sovereignty in dealing with the watercolor, which finds its fulfillment in an unusually light appearance for Nolde. [SM] caused by the figure, which is almost only captured in outlines. The portrait of the girl has grown directly from the free flow of colors without preliminary drawings or graphic elements. The delicate colors and the partly white leaf as a desired design element underline the fragility of the depicted. It dominates a composition that is not lacking in the forcefulness of the design. Here, too, Nolde proves his sovereignty in dealing with the watercolor, which finds its fulfillment in an unusually light appearance for Nolde. [SM] caused by the figure, which is almost only captured in outlines. The portrait of the girl has grown directly from the free flow of colors without preliminary drawings or graphic elements. The delicate colors and the partly white leaf as a desired design element underline the fragility of the depicted. It dominates a composition that is not lacking in the forcefulness of the design. Here, too, Nolde proves his sovereignty in handling the watercolor, which finds its fulfillment in an unusually light appearance for Nolde. [SM] It dominates a composition that is not lacking in the forcefulness of the design. Here, too, Nolde proves his sovereignty in dealing with the watercolor, which finds its fulfillment in an unusually light appearance for Nolde. [SM] It dominates a composition that is not lacking in the forcefulness of the design. Here, too, Nolde proves his sovereignty in dealing with the watercolor, which finds its fulfillment in an unusually light appearance for Nolde. [SM]