Emil Nolde - Sonnenblumen, rote und blaue Blüten, Ca. 1930-40
EMIL NOLDE
Sonnenblumen, rote und blaue Blüten, Ca. 1930/40.
Aquarell und Gouache
Object description
Sunflowers, red and blue flowers . 1930 / 40s.
Watercolor and gouache.
Signed lower right. On firm laid paper. 45.5 x 35.5 cm (17.9 x 13.9 in).
With a photo expertise from Prof. Dr. Manfred Reuther dated September 9, 2018. The watercolor is registered in the Reuther archive under the number "Nolde A - 96/2018".
PROVENANCE: Private collection, Rhineland.
Private collection in southern Germany (inherited from the aforementioned).
"Yellow can paint happiness and also pain. There is fire red, blood red and rose red. There is silver blue, sky blue and storm blue. Each color has its own soul, happy or repulsive and stimulating."
Emil Nolde, quoted from: Martin Urban, Emil Nolde - Landscapes. Watercolors and drawings, Cologne 2002, p. 16.
Watercolor and gouache.
Signed lower right. On firm laid paper. 45.5 x 35.5 cm (17.9 x 13.9 in).
With a photo expertise from Prof. Dr. Manfred Reuther dated September 9, 2018. The watercolor is registered in the Reuther archive under the number "Nolde A - 96/2018".
PROVENANCE: Private collection, Rhineland.
Private collection in southern Germany (inherited from the aforementioned).
"Yellow can paint happiness and also pain. There is fire red, blood red and rose red. There is silver blue, sky blue and storm blue. Each color has its own soul, happy or repulsive and stimulating."
Emil Nolde, quoted from: Martin Urban, Emil Nolde - Landscapes. Watercolors and drawings, Cologne 2002, p. 16.
essay
In Emil Nolde's painterly oeuvre, the watercolors can not only be seen as a supplement to the paintings. At times the artist works almost exclusively in watercolor, such as B. on his South Sea voyage, but also during the painting ban in the Third Reich and after 1951, when Nolde almost completely gave up oil painting because of a broken arm. Seen in this way, the watercolors in his oeuvre are an independent complex that deserves special attention. The lush flower garden around the studio house in Seebüll offers the painter enough inspiration: if he otherwise allows himself interpretational freedom, his flowers can always be botanically identified precisely. But Nolde is neither a botanist nor a flower painter. He does not watercolors bouquets or still life-like arrangements. In the blaze of color of the blossoms, Nolde reflects the daring colors of his early paintings. He creates each flower anew out of the color and brings it into an exciting interrelation with other flowers. The most varied of blossoms can be found in a composition and their color forms compete for the favor of an optical presence that cannot be made more forceful. [SM]
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