Emil Nolde - Schweizer Berglandschaft im Winter, ca. 1930

 EMIL NOLDE

Schweizer Berglandschaft im Winter, Wohl 1930.

Aquarell auf Papier

Object description

Swiss mountain landscape in winter . Probably the 1930s.
Watercolor on paper.
Signed lower right. With the collection stamp of the Seebüll Ada and Emil Nolde Foundation (not in Lugt) and the handwritten number "L a 20" on the reverse. On Japan. 33.2 x 45.5 cm (13 x 17.9 in), the full sheet.

• Rare mountain motif.
• In extremely good condition .

With a letter from the Seebüll Ada and Emil Nolde Foundation dated April 10, 2018. The work is registered in the Foundation's archive.

PROVENANCE: From the artist's estate.

EXHIBITION: Emil Nolde. Acquerelli e disegni dalla Fondazione Nolde di Seebüll, Galleria Nazionale d'Arte Moderna, Rome November 20, 1984 to January 20, 1985, no.120.
Emil Nolde. 75 watercolors from the collection of the Nolde Foundation Seebüll, Rupertinum Salzburg, May 22 - July 20, 1986.
Snow mountains, cloud beauty, weather firs: Emil Nolde and Switzerland, Kirchner Museum, Davos December 5, 2010 to April 3, 2011.

"The nature is wonderful here and great."
Emil Nolde on Switzerland

essay

Emil Nolde's love for Switzerland began at an early age. In 1892 he came to the alpine state for the first time, he became a teacher for commercial drawing at the industrial and commercial museum in St. Gallen. The beautiful nature and the recreational opportunities in the mountains inspire the young man. His favorite occupation is climbing and climbing in the mountains. Soon, high-alpine tours will also appeal to him, and the ascent of the Matterhorn will remain his top performance. He himself describes his impressions as follows: "You can still find nature here in its original form, unsophisticated and powerful. The snow mountains proudly strive up to the sky". His love for the mountains lasts a lifetime, he keeps returning to Switzerland, often for health improvement, but both honeymoons in 1924 with Ada and in 1948 with Jolanthe also go to Switzerland. The stays always encourage him to make the incredible beauty of the Alps tangible. The mountain watercolors are usually created outside directly in front of the motif. They tell of the imposing backdrops that Nolde captures on paper in the usual indulgent manner. Here, too, he finds the wide skies and dramatic play of colors that inspire him to create his watercolors. During his numerous vacations in Switzerland, he did not create a single oil painting with a mountain motif. He obviously found oil painting to be an unsuitable means of capturing his impressions. A look at our watercolor confirms this: Nolde masterfully stages the imposing mountain landscape with just two shades and including the white Japanese paper. [SM] to make the incredible beauty of the Alps tangible. The mountain watercolors are usually created outside directly in front of the motif. They tell of the imposing backdrops that Nolde captures on paper in the usual indulgent manner. Here, too, he finds the wide skies and dramatic play of colors that inspire him to create his watercolors. During his numerous vacations in Switzerland, he did not create a single oil painting with a mountain motif. He obviously found oil painting to be an unsuitable means of capturing his impressions. A look at our watercolor confirms this: Nolde masterfully stages the imposing mountain landscape with just two shades and including the white Japanese paper. [SM] to make the incredible beauty of the Alps tangible. The mountain watercolors are usually created outside directly in front of the motif. They tell of the imposing backdrops that Nolde captures on paper in the usual indulgent manner. Here, too, he finds the wide skies and dramatic play of colors that inspire him to create his watercolors. During his numerous vacations in Switzerland, he did not create a single oil painting with a mountain motif. He obviously found oil painting to be an unsuitable means of capturing his impressions. A look at our watercolor confirms this: Nolde masterfully stages the imposing mountain landscape with just two shades and including the white Japanese paper. [SM] They tell of the imposing backdrops that Nolde captures on paper in the usual indulgent manner. Here, too, he finds the wide skies and dramatic play of colors that inspire him to create his watercolors. During his numerous vacations in Switzerland, he did not create a single oil painting with a mountain motif. He obviously found oil painting to be an unsuitable means of capturing his impressions. A look at our watercolor confirms this: Nolde masterfully stages the imposing mountain landscape with just two shades and including the white Japanese paper. [SM] They tell of the imposing backdrops that Nolde captures on paper in the usual indulgent manner. Here, too, he finds the wide skies and dramatic play of colors that inspire him to create his watercolors. During his numerous vacations in Switzerland, he did not create a single oil painting with a mountain motif. He obviously found oil painting to be an unsuitable means of capturing his impressions. A look at our watercolor confirms this: Nolde masterfully stages the imposing mountain landscape with just two shades and including the white Japanese paper. [SM] During his numerous vacations in Switzerland, he did not create a single oil painting with a mountain motif. He obviously found oil painting to be an unsuitable means of capturing his impressions. A look at our watercolor confirms this: Nolde masterfully stages the imposing mountain landscape with just two shades and including the white Japanese paper. [SM] During his numerous vacations in Switzerland, he did not create a single oil painting with a mountain motif. He obviously found oil painting to be an unsuitable means of capturing his impressions. A look at our watercolor confirms this: Nolde masterfully stages the imposing mountain landscape with just two shades and including the white Japanese paper. [SM]