Emil Nolde - Bärtiger Mann und Frau, ca.1931-35 - Aquarell und Deckfarbe

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 EMIL NOLDE

Bärtiger Mann und Frau, Ca. 1931/1935.
Aquarell und Deckfarbe

Object description
Bearded man and woman . 1931/1935.
Watercolor and body paint.
Signed lower right. On Japan. 31 x 24.5 cm (12.2 x 9.6 in), the full sheet.

With a copy of a photo expertise from Prof. Martin Urban, Seebüll, dated April 15, 1975.

PROVENANCE: Nolde Foundation Seebüll.
Marlborough Fine Art Ltd.
Kornfeld and Klipstein, 155th auction, Bern, June 11-13, 1975.
Artes Kunsthaus, Rheda-Wiedenbrück.
Private collection, Germany (acquired from aforementioned in 1986).
Private collection Schleswig-Holstein (by inheritance from the aforementioned).

“My thinking works more slowly than the creative gift. It is wonderful when figures are born into a picture, often very quickly, and the painter can barely grasp the process. "
Emil Nolde, quoted from: Haftmann, Werner: Ungemalte Bilder1938-1945, Cologne 1963.

essay
Once again, Nolde succeeds in surpassing himself and his mastery in the technique of watercolor. Using ink and pen, he draws the outlines of the two figures out of the seemingly random splashes of color. The very polychrome conception is based on an artistic freedom that Nolde has developed during these years and that gives his entire later work its character. The creative will to shape the object out of the brushstroke and the color is found here increased to the utmost. The color-saturated picture ground develops its own dynamic with its smooth transitions and requires a descriptive drawing. The emphasis on the painterly contrasts with the drawn motif and gives the composition its special charm. When Nolde first wrote the " Because of increasing criticism of his "abnormal" and "negroid" figure representations, he increasingly turns to the less appealing depictions of landscapes and flowers, in which he can maintain his impetuous painting style. From 1938 Nolde withdrew more and more and paints his "unpainted pictures", the design basis for these are those color-compositional solutions that he had worked out in the "Fantasies". [SM] Because of increasing criticism of his "abnormal" and "negroid" figure representations, he increasingly turns to the less appealing depictions of landscapes and flowers, in which he can maintain his impetuous painting style. From 1938 Nolde withdrew more and more and paints his "unpainted pictures", the design basis for these are those color-compositional solutions that he had worked out in the "Fantasies". [SM] which he had worked out in the "Fantasies". [SM] which he had worked out in the "Fantasies". [SM]

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