Emil Nolde - Mohnblumen, ca. 1925-30
EMIL NOLDE
Mohnblumen, Um 1925/1930.
Aquarell
Object description
Poppies . Around 1925/1930.
Watercolor.
Signed lower right. 35.5 x 47.2 cm (13.9 x 18.5 in), the full sheet.
With a photo expertise from Prof. Dr. Manfred Reuther from July 19, 2017. The watercolor is listed in the Reuther archive under the number "Nolde A - 41/2017".
PROVENANCE: Private collection, Wiesbaden.
"Colors are my notes with which I create sounds and chords against and with one another."
Emil Nolde, "Words on the Edge", May 30, 1943, quoted in "Emil Nolde - in Glut und Farbe", 2013, p. 23
Watercolor.
Signed lower right. 35.5 x 47.2 cm (13.9 x 18.5 in), the full sheet.
With a photo expertise from Prof. Dr. Manfred Reuther from July 19, 2017. The watercolor is listed in the Reuther archive under the number "Nolde A - 41/2017".
PROVENANCE: Private collection, Wiesbaden.
"Colors are my notes with which I create sounds and chords against and with one another."
Emil Nolde, "Words on the Edge", May 30, 1943, quoted in "Emil Nolde - in Glut und Farbe", 2013, p. 23
essay
The German painter Emil Nolde painted himself in the hearts of art lovers with colorful flower pictures. His works impress with their color and their power. Nolde himself describes that painting in watercolors is a need for him. He paints people, landscapes, animals and flowers. From the intimate nature of his early watercolors, he worked his way up to the freer, broader and more fluid representation, which requires a particularly thorough understanding and understanding of the nature of the paper and the possibilities of the colors. Nolde's love for flowers goes back to his childhood and has accompanied his entire artistic career. As in our example, it is the purity and freedom of the color, but also the combination of beauty and transience, which stimulates the artist again and again. The flower picture allows his color imagination more freedom than any other subject, here he can drive his idea of the musicality and absolute effect of color close to abstraction, without losing the connection to nature, which is always a prerequisite for his work. [SM]
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