Emil Nolde - Marschlandschaft bei Utenwarf, ca. 1920-25

 

EMIL NOLDE

Marschlandschaft bei Utenwarf, Um 1920/1925.

Aquarell

Object description

Marshland near Utenwarf . Around 1920/1925.
Watercolor.
Signed lower left. On Japan. 32.5 x 44.8 cm (12.7 x 17.6 in), the full sheet.

With an expertise from Prof. Martin Urban, Seebüll Ada and Emil Nolde Foundation, dated March 28, 1983.

PROVENANCE: Kunsthandlung Wolfgang Werner, Bremen (with the label on the old cardboard back of the frame).
Private collection Northern Germany.

"After our beloved, dreamy Utenwarf - it is within easy sight, mysteriously surrounded by lilac bushes, we often looked over, always with the feeling of solidarity, because it meant so much to us."
Emil Nolde, 1926, quoted from: Festschrift for the exhibition Ada and Emil Nolde on memory, Seebüll 1957, p. 30.

essay

Emil Nolde remained loyal to the landscape of his home country throughout his life as a painter. This is where he gets most of his suggestions and turns a rather unspectacular flat landscape into an event. Nolde, who assigns a dominant role to the sky over the flat land in his watercolors, recognizes that the landscape alone can hardly claim any special artistic value in its depicted design. Based on the observations of nature in the 19th century, which was mainly devoted to the intermediate areas of daytime brightness, Nolde came to his bold solutions, which were only partially given by nature. In the exaggeration of what has been internalized, he finds a pathetic color realism that characterizes his landscape watercolors. So ominously black clouds cover the flat landscape and ominously move towards the distant village. Nolde allows the dramatically staged sky to be the largest stage in his composition. He gives the bitter Frisian landscape a new face and expands the way of seeing in his most unusual way. This gives his color-intensive watercolors a large number of admirers. In their singularity, they have an impact even in the art of contemporary modernism. [SM] This gives his color-intensive watercolors a large number of admirers. In their singularity, they have an impact even in the art of contemporary modernism. [SM] This gives his color-intensive watercolors a large number of admirers. In their singularity, they have an impact even in the art of contemporary modernism. [SM]