Emil Nolde - Schauspielerin (recto) -- Piazza S. Domenico II, Taormina (verso), 1919-05
EMIL NOLDE
Schauspielerin (recto) /
Piazza S. Domenico II, Taormina (verso), 1919/1905.
Öl auf Leinwand
Object description
Actress (recto) / Piazza S. Domenico II, Taormina (verso) . 1919/1905.
Oil on canvas.
Urban 829 / Urban 154. Signed upper right or signed and dated lower right. 52.5 x 40 cm (20.6 x 15.7 in). [SM].
• Emil Nolde not only paints heads, he paints types.
• In the immediacy of expression, Nolde paints his counterpart, unfiltered, work born entirely from instinct.
• Emil Nolde is caught by his counterpart, paints the actress, a person who challenges the artist, is powerful and convincing .
PROVENANCE: Alfred Heller art dealer, Berlin-Charlottenburg.
Curt Schueler (1877-1962), Berlin (around 1920, until before spring 1942).
Conrad Doebbeke, Berlin / Hanover (probably since 1943/45, until 1953).
Museum Kunstpalast, Düsseldorf (acquired from aforementioned in 1953, until 2019).
Restitution to Curt Schueler's heirs (2019).
Family-owned since then.
The work was restituted to Curt Schueler's heirs in 2019 and is free of claims.
EXHIBITION: First General German Art Exhibition, Museum of History, Moscow, 1924, No. 300 (actress)
Emil Nolde. Oil paintings - watercolors - drawings - graphics, Kongreßhalle Berlin, 23.9. - 12.10.1962, No. 2 (actress)
Düsseldorf, Kunstmuseum, 1900 - talets konstutveckling belyst genom 150 Verk av 100 konstnärer, Konsthall Malmö, 30.8. - November 2nd, 1980, No. 35 (Taormina).
"The people are my pictures."
Emil Nolde.
Oil on canvas.
Urban 829 / Urban 154. Signed upper right or signed and dated lower right. 52.5 x 40 cm (20.6 x 15.7 in). [SM].
• Emil Nolde not only paints heads, he paints types.
• In the immediacy of expression, Nolde paints his counterpart, unfiltered, work born entirely from instinct.
• Emil Nolde is caught by his counterpart, paints the actress, a person who challenges the artist, is powerful and convincing .
PROVENANCE: Alfred Heller art dealer, Berlin-Charlottenburg.
Curt Schueler (1877-1962), Berlin (around 1920, until before spring 1942).
Conrad Doebbeke, Berlin / Hanover (probably since 1943/45, until 1953).
Museum Kunstpalast, Düsseldorf (acquired from aforementioned in 1953, until 2019).
Restitution to Curt Schueler's heirs (2019).
Family-owned since then.
The work was restituted to Curt Schueler's heirs in 2019 and is free of claims.
EXHIBITION: First General German Art Exhibition, Museum of History, Moscow, 1924, No. 300 (actress)
Emil Nolde. Oil paintings - watercolors - drawings - graphics, Kongreßhalle Berlin, 23.9. - 12.10.1962, No. 2 (actress)
Düsseldorf, Kunstmuseum, 1900 - talets konstutveckling belyst genom 150 Verk av 100 konstnärer, Konsthall Malmö, 30.8. - November 2nd, 1980, No. 35 (Taormina).
"The people are my pictures."
Emil Nolde.
essay
From 1910 onwards, dealing with religious topics and legends gained importance in the artist's work. And as a result - it seems - Emil Nolde is increasingly concerned with portraits and not only paints heads that populate the scenes, he paints types: women and men become characters in the artist's point of view. With his portraits, the artist does not reflect his counterpart, he also wants to make the person more visible. This also happens when, as is so often the case, he deals with the topic of “Man and Woman” (1919, Urban 794), or describes the relationship between “Prince and Beloved” (1918, Urban 797) and thus his interest resonates with perhaps wicked topics. The "beloved" has 'done' to the artist, he will immortalize her in another magnificent portrait and also reveal her name: Her name is Nadja! In the same year, in 1919, Emil Nolde painted further portraits, seven in number, including the "actress". She sits face-to-face with Nolde. Her bright blue eyes are open, her facial features are soft and suggest a slight smile. The fiery red painted mouth is slightly open, and the thick, half-length brown hair is parted. In the immediacy of expression, Nolde paints his counterpart, unfiltered, full of empathy. The person is - so one can assume - dressed privately, the dress, the top hugs the neck and gives a clear view of their neck and the transition to the cleavage. Nolde understands his color palette as his strongest means of expression, as the actual medium of his artistic identity. It's not just the colorful flower pictures, the atmospheric mudflat and sea landscapes, the charged biblical and mythical scenes. It is above all the portraits into which Nolde allows his idea of originality to flow and, as here, with open directness and the most elementary simplicity of physiognomy. The intense gaze of the "actress" involves both the artist then and now the viewer in an intensive exchange. The dualities of life are elementary for Nolde, who, in his own words, “always had a generous place in my pictures [..]. Together or against each other: man and woman, lust and suffering, god and devil ”(quoted from: Emil Nolde: portraits, exhib.-cat., Ulm 2005, p. 76). Apart from the title label, we have no knowledge of the identity of those portrayed, Nolde withholds their names from us. This is not always the case, this is how Nolde named the portraits that were created around the same time at the beginning of 1919 after the portrayed: They are called "Nadja" (Urban 830), "Vera" (Urban 831), "Marie" (Urban 832), " Ingeborg ”(Urban 835), but also“ Italian ”(Urban 834),“ Red-haired girl ”(Urban 836) and“ actress ”(Urban 829). In his autobiography "Mein Leben" we find a speculative indication of who the portrayed could be: "The end of the war had given you the freedom to travel again and also an orientating desire for friends and acquaintances. We traveled to Denmark, resuming the family's long-interrupted visits. [..] The siblings of my Ada, living in Kjellerup, in Kolding and Copenhagen, life and thought had become almost alien to us during the war. The reunion was nice. [..] Painting was my better being, I painted again. I painted little pictures of children and the beautiful sisters-in-law and also of the magical girl, the storyteller ”, says Emil Nolde (Mein Leben, Cologne 1993, p. 330). Is the "actress" a sister of Ada? Ada Vilstrup was an actress herself when she married Emil Nolde in 1902. And the magic girl? The storyteller, maybe Nadja? We cannot say for sure, it remains hidden in the realm of speculation. I painted little pictures of children and the beautiful sisters-in-law and also of the magical girl, the storyteller ”, says Emil Nolde (Mein Leben, Cologne 1993, p. 330). Is the "actress" a sister of Ada? Ada Vilstrup was an actress herself when she married Emil Nolde in 1902. And the magic girl? The storyteller, maybe Nadja? We cannot say for sure, it remains hidden in the realm of speculation. I painted little pictures of children and the beautiful sisters-in-law and also of the magical girl, the storyteller ”, says Emil Nolde (Mein Leben, Cologne 1993, p. 330). Is the "actress" a sister of Ada? Ada Vilstrup was an actress herself when she married Emil Nolde in 1902. And the magic girl? The storyteller, maybe Nadja? We cannot say for sure, it remains hidden in the realm of speculation.
According to Manfred Reuther, the long-time director of the Ada and Emil Nolde Foundation, Nolde's portrait of the "actress" was created at the beginning of January 1919 with the other portraits in the Berlin studio in Tauentzienstrasse, the winter quarter of the Noldees, before they were perhaps in the middle They leave for Denmark on January 1st, where they have an official permit to stay until February 20th. But while still in Berlin, Nolde re-spans the canvas that was painted with a view of the square and uses the back for the portrait of the “actress”. So on the back of the portrait today we find the view of Piazza San Domenico, painted in Taormina in 1905. Ada and Emil Nolde spend the milder winter in Sicily. Let us return once more to this fascinating portrait of a woman: “Like the physiognomy, As the type of representation and the general expression confirm, the portrait of the 'actress' is not guided by free imagination, but is based on a specific person as a specification and submits to the categories of the portrait in the design. But who is depicted cannot yet be made out, ”said Manfred Reuther in a statement on this portrait in November 2020. Nevertheless, the impression remains: Emil Nolde is caught by his counterpart, paints the actress, who challenges the artist and is powerful convincing person.
Piazza S. Domenico: The reverse side
The reverse side of the "Actress" shows an early painting that was created during Ada and Emil Nolde's trip to Sicily in the spring of 1905: It shows the "Piazza S. Domenico" in Taormina. Even then, the landscape-integrated place, surrounded by mountains, volcano and sea, was considered a glamorous travel destination. Pastose layers of thick impasto still form a relief-like surface modeled by the strong brushwork, the trees, the architectures in the lively design experience a sun-drenched, spring-like surface. Artistically, Nolde is still caught by the impressionistic influence of a Van Gogh. Nolde's views of Arles could have accompanied Nolde in his thoughts as he arranged the square, the buildings and trees and also the passers-by for the composition.
Provenance
Around 1920 Curt Schueler (1877-1962), a successful businessman in Berlin, acquired the present work from Emil Nolde. The exact entry into his collection is not documented, but before that the painting can be verified at the art dealer Alfred Heller in Berlin-Charlottenburg. Schueler's collection includes works by Franz Marc, Paul Kleinschmidt, Franz Heckendorf and Jules Pascin. Curt and his wife Hilda Schueler received the deportation order in 1942. However, with the help of the painter Franz Heckendorf, both managed to escape via Switzerland to Sweden to their son Stefan, who had already emigrated there. You are forced to sell the present work. The new owner cannot be clarified any more than the question of when and how the picture will come into the possession of Conrad Doebbeke. From the doctor of law, The painting was acquired for the Düsseldorf municipal collection in 1953 by contractors and real estate dealers. However, since Conrad Doebbeke is suspected of having increasingly bought art objects from Jewish possession during the Nazi era, the Kunstpalast put the painting on the "Lost Art" list as early as 2015. On July 4, 2019, the city council of Düsseldorf decided to restitute the two-sided painting by Emil Nolde to Curt Schueler's heirs and with the return it corresponds to Curt Schueler's descendants' request for restitution. [MvL] In July 2019, the city council of Düsseldorf decided to restitute the two-sided painting by Emil Nolde to the heirs of Curt Schueler and with the return it corresponds to Curt Schueler's descendants' request for restitution. [MvL] In July 2019, the city council of Düsseldorf decided to restitute the two-sided painting by Emil Nolde to the heirs of Curt Schueler and with the return it corresponds to Curt Schueler's descendants' request for restitution. [MvL]
According to Manfred Reuther, the long-time director of the Ada and Emil Nolde Foundation, Nolde's portrait of the "actress" was created at the beginning of January 1919 with the other portraits in the Berlin studio in Tauentzienstrasse, the winter quarter of the Noldees, before they were perhaps in the middle They leave for Denmark on January 1st, where they have an official permit to stay until February 20th. But while still in Berlin, Nolde re-spans the canvas that was painted with a view of the square and uses the back for the portrait of the “actress”. So on the back of the portrait today we find the view of Piazza San Domenico, painted in Taormina in 1905. Ada and Emil Nolde spend the milder winter in Sicily. Let us return once more to this fascinating portrait of a woman: “Like the physiognomy, As the type of representation and the general expression confirm, the portrait of the 'actress' is not guided by free imagination, but is based on a specific person as a specification and submits to the categories of the portrait in the design. But who is depicted cannot yet be made out, ”said Manfred Reuther in a statement on this portrait in November 2020. Nevertheless, the impression remains: Emil Nolde is caught by his counterpart, paints the actress, who challenges the artist and is powerful convincing person.
Piazza S. Domenico: The reverse side
The reverse side of the "Actress" shows an early painting that was created during Ada and Emil Nolde's trip to Sicily in the spring of 1905: It shows the "Piazza S. Domenico" in Taormina. Even then, the landscape-integrated place, surrounded by mountains, volcano and sea, was considered a glamorous travel destination. Pastose layers of thick impasto still form a relief-like surface modeled by the strong brushwork, the trees, the architectures in the lively design experience a sun-drenched, spring-like surface. Artistically, Nolde is still caught by the impressionistic influence of a Van Gogh. Nolde's views of Arles could have accompanied Nolde in his thoughts as he arranged the square, the buildings and trees and also the passers-by for the composition.
Provenance
Around 1920 Curt Schueler (1877-1962), a successful businessman in Berlin, acquired the present work from Emil Nolde. The exact entry into his collection is not documented, but before that the painting can be verified at the art dealer Alfred Heller in Berlin-Charlottenburg. Schueler's collection includes works by Franz Marc, Paul Kleinschmidt, Franz Heckendorf and Jules Pascin. Curt and his wife Hilda Schueler received the deportation order in 1942. However, with the help of the painter Franz Heckendorf, both managed to escape via Switzerland to Sweden to their son Stefan, who had already emigrated there. You are forced to sell the present work. The new owner cannot be clarified any more than the question of when and how the picture will come into the possession of Conrad Doebbeke. From the doctor of law, The painting was acquired for the Düsseldorf municipal collection in 1953 by contractors and real estate dealers. However, since Conrad Doebbeke is suspected of having increasingly bought art objects from Jewish possession during the Nazi era, the Kunstpalast put the painting on the "Lost Art" list as early as 2015. On July 4, 2019, the city council of Düsseldorf decided to restitute the two-sided painting by Emil Nolde to Curt Schueler's heirs and with the return it corresponds to Curt Schueler's descendants' request for restitution. [MvL] In July 2019, the city council of Düsseldorf decided to restitute the two-sided painting by Emil Nolde to the heirs of Curt Schueler and with the return it corresponds to Curt Schueler's descendants' request for restitution. [MvL] In July 2019, the city council of Düsseldorf decided to restitute the two-sided painting by Emil Nolde to the heirs of Curt Schueler and with the return it corresponds to Curt Schueler's descendants' request for restitution. [MvL]
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