Emil Nolde - Peter P, 1918
EMIL NOLDE
Peter P, 1918
Öl auf Leinwand
Object description
Peter P . 1918.
Oil on canvas.
Urban 784. Signed lower right. Signed and titled on the stretcher. Inscribed by a hand other than that of the artist on the stretcher. 40.7 x 33 cm (16 x 12.9 in).
Verso an oil sketch "Female figure behind a screen". [KD].
PROVENANCE: Franz Kochmann (* 1872 Gleiwitz † 1956 Utrecht), Dresden.
Theo Hill Gallery, Cologne.
Adolf Funke, Aachen (1956).
Private collection South Germany.
EXHIBITION: Artists' Association Dresden, summer exhibition, Dresden 1919, cat.-no. 98
Emil Hansen was born on August 7, 1867. He later adopted the name of his hometown Nolde as his stage name. After an apprenticeship in Flensburg from 1884 to 1888, he worked for various furniture factories in Munich, Karlsruhe and Berlin. In 1892 Nolde received a position as a teacher for commercial drawing in St. Gallen. With the decision to become a painter, Nolde finally goes to Munich, but the academy under Stuck rejects him. This was followed by studies at Adolf Hölzel's private painting school in Dachau and, from 1899, at the Académie Julian in Paris. In 1900 he rents a studio in Copenhagen and in 1903 moves to the island of Alsen. By dealing with Vincent van Gogh, Edvard Munch and James Ensor, Nolde came to an independent style from 1905 in which color played an essential role; color-intensive, luminous flower pictures. In 1906 Nolde met the "Brücke" painters in Alsen, whose group he temporarily joined. The turn to watercolor begins in a series of portrait studies. When Nolde first tried this technique on non-absorbent paper in 1909, these innovations were trend-setting. In 1910 Emil Nolde was excluded from the "Berlin Secession" and founded the "New Secession" with other rejected artists, in whose exhibitions he took part until 1912. Fascinated less by Berlin city life, which he captures in a few expressive pictures, than by primitivism, Nolde paints still lifes with exotic figures and masked pictures. From an expedition to New Guinea in 1913, he brought back a wealth of study material that he processed until 1915.
In his portraits, Emil Nolde did not trace the depicted closeness of his counterpart, but rather captured the overall appearance of his counterpart in terms of its effect on himself. The certain shyness in the young man's facial expression that speaks in this portrait is probably due to a distance that the sitter showed from the painter. For the farmers in the area, the painter Emil Nolde was exotic, even if he came from the same area, and his works in their expressive-emphatic style may have contributed to widening the distance between them and the eccentric painter. The person portrayed remains unclear, but it seems certain that it is one of the farmers in the area. Nolde takes the young man's head into the picture and concentrates entirely on the shy, skeptical expression. The reddish brown of the face is dominated by an almost unreal blue of the eyes, which is matched by the amorphous background blue. A triad of expression, color and form becomes an eventful overall concept in the small portrait, the effect of which is based entirely on Nolde's canon of interpretations.
In 1928 Nolde settled in Seebüll. The garden created there becomes an inexhaustible source of inspiration for his painting, coastal landscapes and religious scenes also become main subjects. In the last years of his life, he mainly created watercolors with flower and landscape motifs from the vicinity of his house in Seebüll, where Nolde died on April 13, 1956.
Oil on canvas.
Urban 784. Signed lower right. Signed and titled on the stretcher. Inscribed by a hand other than that of the artist on the stretcher. 40.7 x 33 cm (16 x 12.9 in).
Verso an oil sketch "Female figure behind a screen". [KD].
PROVENANCE: Franz Kochmann (* 1872 Gleiwitz † 1956 Utrecht), Dresden.
Theo Hill Gallery, Cologne.
Adolf Funke, Aachen (1956).
Private collection South Germany.
EXHIBITION: Artists' Association Dresden, summer exhibition, Dresden 1919, cat.-no. 98
Emil Hansen was born on August 7, 1867. He later adopted the name of his hometown Nolde as his stage name. After an apprenticeship in Flensburg from 1884 to 1888, he worked for various furniture factories in Munich, Karlsruhe and Berlin. In 1892 Nolde received a position as a teacher for commercial drawing in St. Gallen. With the decision to become a painter, Nolde finally goes to Munich, but the academy under Stuck rejects him. This was followed by studies at Adolf Hölzel's private painting school in Dachau and, from 1899, at the Académie Julian in Paris. In 1900 he rents a studio in Copenhagen and in 1903 moves to the island of Alsen. By dealing with Vincent van Gogh, Edvard Munch and James Ensor, Nolde came to an independent style from 1905 in which color played an essential role; color-intensive, luminous flower pictures. In 1906 Nolde met the "Brücke" painters in Alsen, whose group he temporarily joined. The turn to watercolor begins in a series of portrait studies. When Nolde first tried this technique on non-absorbent paper in 1909, these innovations were trend-setting. In 1910 Emil Nolde was excluded from the "Berlin Secession" and founded the "New Secession" with other rejected artists, in whose exhibitions he took part until 1912. Fascinated less by Berlin city life, which he captures in a few expressive pictures, than by primitivism, Nolde paints still lifes with exotic figures and masked pictures. From an expedition to New Guinea in 1913, he brought back a wealth of study material that he processed until 1915.
In his portraits, Emil Nolde did not trace the depicted closeness of his counterpart, but rather captured the overall appearance of his counterpart in terms of its effect on himself. The certain shyness in the young man's facial expression that speaks in this portrait is probably due to a distance that the sitter showed from the painter. For the farmers in the area, the painter Emil Nolde was exotic, even if he came from the same area, and his works in their expressive-emphatic style may have contributed to widening the distance between them and the eccentric painter. The person portrayed remains unclear, but it seems certain that it is one of the farmers in the area. Nolde takes the young man's head into the picture and concentrates entirely on the shy, skeptical expression. The reddish brown of the face is dominated by an almost unreal blue of the eyes, which is matched by the amorphous background blue. A triad of expression, color and form becomes an eventful overall concept in the small portrait, the effect of which is based entirely on Nolde's canon of interpretations.
In 1928 Nolde settled in Seebüll. The garden created there becomes an inexhaustible source of inspiration for his painting, coastal landscapes and religious scenes also become main subjects. In the last years of his life, he mainly created watercolors with flower and landscape motifs from the vicinity of his house in Seebüll, where Nolde died on April 13, 1956.
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