Emil Nolde - Tulpen, 1908
EMIL NOLDE
Tulpen, 1908.
Öl auf Leinwand
Object description
Tulips . 1908.
Oil on canvas.
Urban 250. Signed lower right. Once more signed and titled on the stretcher. 38.5 x 43.5 cm (15.1 x 17.1 in).
• After being sold for the first time in the art trade in 1960 at Aenne Abels in family ownership for 60 years.
• Offered on the international auction market for the first time.
• The depictions of flowers are among the artist's most sought-after subjects.
• Early work with a dense, flickering composition modeled out of the color.
• The oil painting "Flower Garden: Pansy", created in the same year and also in Alsen, achieved 2.48 million euros at Sotheby's in February 2020 .
PROVENANCE: Henrik and Julie Staehr née Vilstrup, Copenhagen (acquired in 1910, brother-in-law and sister of Ada Nolde).
Hans Vilstrup, Copenhagen (after 1944, son of Carl Vilstrup, Ada Nolde's brother).
Aenne Abels Gallery, Cologne.
Ilse von Martius collection, Hattingen / Ruhr (acquired from the aforementioned in 1960/61, still owned by the family today).
Oil on canvas.
Urban 250. Signed lower right. Once more signed and titled on the stretcher. 38.5 x 43.5 cm (15.1 x 17.1 in).
• After being sold for the first time in the art trade in 1960 at Aenne Abels in family ownership for 60 years.
• Offered on the international auction market for the first time.
• The depictions of flowers are among the artist's most sought-after subjects.
• Early work with a dense, flickering composition modeled out of the color.
• The oil painting "Flower Garden: Pansy", created in the same year and also in Alsen, achieved 2.48 million euros at Sotheby's in February 2020 .
PROVENANCE: Henrik and Julie Staehr née Vilstrup, Copenhagen (acquired in 1910, brother-in-law and sister of Ada Nolde).
Hans Vilstrup, Copenhagen (after 1944, son of Carl Vilstrup, Ada Nolde's brother).
Aenne Abels Gallery, Cologne.
Ilse von Martius collection, Hattingen / Ruhr (acquired from the aforementioned in 1960/61, still owned by the family today).
essay
On February 4, 1906, Karl Schmidt-Rottluff wrote to Emil Nolde and invited him to become a member of the artist group "Brücke". The letter ends with the sentence: "Well, dear Mr. Nolde, think what you want, we have hereby wanted to pay you the duty for your color storms." 98). In the Nolde exhibition at the Arnold Gallery in Dresden, which the "Brücke" artists had recently visited, no flower or garden pictures have yet been seen. In this summer of 1906 the first of them were created and were immediately included in the traveling exhibitions of the "Brücke". With the flower pictures Nolde can book initial successes with the public. In the long run, however, the artist saw a danger and that is why he put these motifs aside for some time in 1909 in favor of religious themes and figurative images. Since 1903 Nolde has lived with his wife Ada in a fisherman's house on the Danish island of Alsen, around which he created a flower garden. Also in his later rural places of residence - from 1916 in Utenwarf and from 1927 in Seebüll - such gardens are being built, the splendor of which is carefully planned and cared for. Flowers arranged in vases interest the painter little. His pictures either show the garden from a certain distance, also in connection with a house and figures standing between the beds, or a close-up view that focuses entirely on leaves and flowers. Nolde recalls: “It was in Alsen in the middle of summer. The colors of the flowers attracted me irresistibly, and almost suddenly I was painting. My first small garden pictures were created. The blooming colors of the flowers and the purity of those colors, I loved them. I loved the flowers in their destiny: shooting up, blooming, shining, glowing, exhilarating, leaning, withering, ending in the pit. However, he only hinted at this end in his pictures. In the flower pictures from these years up to 1909, Nolde's exploration of color as a vehicle for expression and its emotional effects intensified. They lead to a further increase in the luminosity of his paintings. And yet it is precisely in them that he recognizes what is “inadequate”, in any case what is different in the work of art compared to nature. In a conversation he later said: “In my flower pictures, the audience will say that the colors are exaggerated. That is not right. Once I put the pictures between the flowers themselves and noticed that they were still far behind nature. We don't even know how deformed our eyes are. ”(Quoted from: Hans Fehr, Emil Nolde. A book of friendship, Munich 1960, p. 43).
Tulips in and of themselves, when they are not in a bouquet in a vase, are a bulky motif for the painter, individual, mostly straight stems with a few, simply shaped leaves and a single flower on top. Nolde only made them the sole motif of a painting twice, in 1908 and 1915. In the later picture, the blackish green plants sprout from the dark brown spring soil, through which two narrow strips of lighter green run above the center. The tulips are arranged in a row that swings forwards from the left center of the picture, then in an arc up and back to the upper center of the surface. The bright yellow and red flowers stand like traffic lights against the dark background. The painting from 1908 has a completely different character. The area is almost completely filled by the plants. It is divided into two zones: a blue-green, hill-shaped stem and leaves and an orange-red one of the flowers above. Narrow vistas between the flowers take up the green of the lower area and, together with some red and orange reflections on the leaves below, create a color correspondence between the two zones. Left and right the colors are darker, the red of the flowers is deeply saturated. Towards the middle, the green of the leaves and stems is broken whitish and the flowers lighten to orange, even to muted yellow. Tulips have the property of developing a peculiar charm and a special beauty when they fade, as the petals lose their strong monochrome color and produce completely new, unexpected color nuances. The stage just before decay, just not yet "sloping, withering, ending in the pit," Nolde seems to have captured in the center of the picture. In the quotation quoted, he compared the fate of flowers with the fate of people. Accordingly, with all the modesty of its motif, this picture also points beyond itself and can be understood as a likeness of human life. But it does not gain such an expression in the kind of symbolism that dominated art in Nolde's early years, rather it is developed entirely out of color and its dynamic application. Nolde's “color storms” have found a clear form and deep meaning here. In the quotation quoted, he compared the fate of flowers with the fate of people. Accordingly, despite all the modesty of its motif, this picture also points beyond itself and can be understood as a likeness of human life. But it does not gain such an expression in the kind of symbolism that dominated art in Nolde's early years; it is developed entirely out of color and its dynamic application. Nolde's “color storms” have found a clear form and deep meaning here. In the quotation quoted, he compared the fate of flowers with the fate of people. Accordingly, with all the modesty of its motif, this picture also points beyond itself and can be understood as a likeness of human life. But it does not gain such an expression in the kind of symbolism that dominated art in Nolde's early years, rather it is developed entirely out of color and its dynamic application. Nolde's “color storms” have found a clear form and deep meaning here. who mastered art in Nolde's early years, but is developed entirely from color and its dynamic application. Nolde's “color storms” have found a clear form and deep meaning here. who mastered art in Nolde's early years, but is developed entirely from color and its dynamic application. Nolde's “color storms” have found a clear form and deep meaning here.
Andreas Hüneke
Tulips in and of themselves, when they are not in a bouquet in a vase, are a bulky motif for the painter, individual, mostly straight stems with a few, simply shaped leaves and a single flower on top. Nolde only made them the sole motif of a painting twice, in 1908 and 1915. In the later picture, the blackish green plants sprout from the dark brown spring soil, through which two narrow strips of lighter green run above the center. The tulips are arranged in a row that swings forwards from the left center of the picture, then in an arc up and back to the upper center of the surface. The bright yellow and red flowers stand like traffic lights against the dark background. The painting from 1908 has a completely different character. The area is almost completely filled by the plants. It is divided into two zones: a blue-green, hill-shaped stem and leaves and an orange-red one of the flowers above. Narrow vistas between the flowers take up the green of the lower area and, together with some red and orange reflections on the leaves below, create a color correspondence between the two zones. Left and right the colors are darker, the red of the flowers is deeply saturated. Towards the middle, the green of the leaves and stems is broken whitish and the flowers lighten to orange, even to muted yellow. Tulips have the property of developing a peculiar charm and a special beauty when they fade, as the petals lose their strong monochrome color and produce completely new, unexpected color nuances. The stage just before decay, just not yet "sloping, withering, ending in the pit," Nolde seems to have captured in the center of the picture. In the quotation quoted, he compared the fate of flowers with the fate of people. Accordingly, with all the modesty of its motif, this picture also points beyond itself and can be understood as a likeness of human life. But it does not gain such an expression in the kind of symbolism that dominated art in Nolde's early years, rather it is developed entirely out of color and its dynamic application. Nolde's “color storms” have found a clear form and deep meaning here. In the quotation quoted, he compared the fate of flowers with the fate of people. Accordingly, despite all the modesty of its motif, this picture also points beyond itself and can be understood as a likeness of human life. But it does not gain such an expression in the kind of symbolism that dominated art in Nolde's early years; it is developed entirely out of color and its dynamic application. Nolde's “color storms” have found a clear form and deep meaning here. In the quotation quoted, he compared the fate of flowers with the fate of people. Accordingly, with all the modesty of its motif, this picture also points beyond itself and can be understood as a likeness of human life. But it does not gain such an expression in the kind of symbolism that dominated art in Nolde's early years, rather it is developed entirely out of color and its dynamic application. Nolde's “color storms” have found a clear form and deep meaning here. who mastered art in Nolde's early years, but is developed entirely from color and its dynamic application. Nolde's “color storms” have found a clear form and deep meaning here. who mastered art in Nolde's early years, but is developed entirely from color and its dynamic application. Nolde's “color storms” have found a clear form and deep meaning here.
Andreas Hüneke
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