Emil Nolde - Marschlandschaft mit Fischerbooten, ca. 1920

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EMIL NOLDE
Marschlandschaft mit Fischerbooten, Um 1920.
Aquarell

Object description
Marshland with fishing boats . Around 1920.
Watercolor and Indian ink.
Signed lower left. On fine Japan. 35.2 x 47.7 cm (13.8 x 18.7 in), the full sheet.

With an expertise from Dr. Martin Urban, Seebüll Ada and Emil Nolde Foundation, dated November 19, 1996 (copy).
With a duplicate by Prof. Dr. Manfred Reuther dated October 30, 2012.

PROVENANCE: Otto Brill, Vienna (with the collector's stamp, Lugt 2005a).
Henry Roland, London.
Anthony Roland, London.
Private collection, Northern Germany.
Private collection, Switzerland.
Private collection, Berlin.

EXHIBITION: The Roland Collection, York, Newcastle, Leicester, Brighton, 1950 / Southhampton 1952 / Manchester and Leeds 1962 / Cambridge, Fitzwilliam Museum, 1968 / Bristol 1969 / Folkestone 1975 / Edinburgh 1976 /
Works from the Roland Collection, London, Courtauld Institute of Art Galleries, 1979, No. 33.
Picture of the month, Glyn Vivian Art Gallery, Swansea 1964.
Germany in Ferment, Durham University, Sheffield / Graves Art Gallery, Leicester 1970.
One man's Choice, Scottish National Gallery of Modern Art, Edinburgh 1985.

"Our landscape is modest, far from anything intoxicating, exuberant, we know that, but for his love for it it gives the intimate observer an infinite amount of quiet, intimate beauty, of austere size and also of stormy, wild life."
Emil Nolde

essay
Emil Nolde is breaking new ground with his marshland. The roots in the North Frisian homeland moved him to settle down there and realize his own visual language. The expanse of the marshland that surrounds Nolde's residence becomes the goal of his explorations and remains in its austere severity, only inspired by weather-related events, a brittle subject that Nolde interprets with his own emphasis. The results are exuberant worlds of color, as the artist perceives them and brings them to paper in his inimitable watercolor technique. Nolde thus gives a landscape that is simply flat and gray-green, devoid of any visual excesses, an unprecedented level of color. It is the changing light moods of a wide sky that knows no boundaries that Nolde captures, in order to combine them into a symbiosis of perceived closeness to nature and deliberate abstraction. Reality is not required, but a sense of reality. [SM]

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