Emil Nolde - Blumenstillleben mit weißen und blauen Blüten, 1935. Aquarell
EMIL NOLDE
Blumenstillleben mit weißen und blauen Blüten, 1935.
Aquarell
Object description
Flower still life with white and blue flowers . Around 1935/40.
Watercolor.
Signed lower right. On Japan. 45.4 x 33.6 cm (17.8 x 13.2 in), the full sheet.
With a photo expertise from Prof. Dr. Manfred Reuther, Ada and Emil Nolde Foundation Seebüll, from June 17, 2009.
PROVENANCE: Private collection, Germany since the 1960s.
Private collection.
Emil Hansen was born on August 7, 1867 in the German-Danish border region. He later adopted the name of his hometown Nolde as his stage name. After an apprenticeship as a furniture draftsman and wood carver in Flensburg from 1884 to 1888, he worked for various furniture factories in Munich, Karlsruhe and Berlin. In 1892 Emil Nolde received a position as a teacher for commercial drawing at the trade museum in St. Gallen, which he held until 1898. In those places where primarily landscape watercolors and drawings by mountain farmers were created, Nolde became known for his small colored drawings of the Swiss mountains. With the decision to become a painter, Nolde finally went to Munich, but the academy under Franz von Stuck rejected him. This was followed by studies at Adolf Hölzel's private painting school in Dachau and, from 1899, at the Académie Julian in Paris. In 1900 he rents a studio in Copenhagen and in 1903 moves to the island of Alsen. By dealing with the neo-impressionists Vincent van Gogh, Edvard Munch and James Ensor, Nolde moved from his initially romantic naturalism to an independent style in which color played an essential role. color-intensive, luminous flower pictures are created. In 1906, during a stay in Alsen, Nolde met the "Brücke" painters, whose group he temporarily joined. In a series of portrait studies, he began to turn to watercolors. When Nolde made his first attempts at this technique in 1909 on non-absorbent paper, leaving the sheet white in large parts and dispensing with contouring in the object detection, these innovations were forward-looking. In 1910 Emil Nolde was excluded from the "Berliner Sezession" after a controversy with Max Liebermann and founded the "Neue Sezession" with other rejected artists, in whose exhibitions he participated until 1912. Fascinated less by Berlin city life, which he captures in a few expressive pictures, than by primitivism, Nolde paints still lifes with exotic figures and masked pictures. From an expedition to New Guinea in 1913, he brought back a wealth of study material, which he processed in numerous works until 1915. From 1916 he spent the summer on the island of Föhr and settled in Seebüll in 1928. The garden created there becomes an inexhaustible source of inspiration for his painting, coastal landscapes and religious scenes also become main subjects.
Whether shining mysteriously out of the dark or openly in the open in lavish colors, hardly any painter of classical modernism has elicited so many ways of seeing flowers and blossoms as Emil Nolde. Whichever way he saw it, the spontaneous apprehension of the essential remains at the heart of the message. Nolde didn't need any special arrangements to make his flowers stand out. They work out of themselves, even if, like here, they appear almost ghostly out of the dark. The play with form and color, clearly dominated by color in these watercolors, is the artistic essence of these sheets. Thanks to his technique of applying paint to wet paper, Nolde created watercolors whose visual presence has shaped an entire genre. The timeless beauty of these watercolors has endured.
In the last years of his life, he mainly created watercolors with flower and landscape motifs from the vicinity of his house in Seebüll, where Nolde died on April 13, 1956. [KD].
Watercolor.
Signed lower right. On Japan. 45.4 x 33.6 cm (17.8 x 13.2 in), the full sheet.
With a photo expertise from Prof. Dr. Manfred Reuther, Ada and Emil Nolde Foundation Seebüll, from June 17, 2009.
PROVENANCE: Private collection, Germany since the 1960s.
Private collection.
Emil Hansen was born on August 7, 1867 in the German-Danish border region. He later adopted the name of his hometown Nolde as his stage name. After an apprenticeship as a furniture draftsman and wood carver in Flensburg from 1884 to 1888, he worked for various furniture factories in Munich, Karlsruhe and Berlin. In 1892 Emil Nolde received a position as a teacher for commercial drawing at the trade museum in St. Gallen, which he held until 1898. In those places where primarily landscape watercolors and drawings by mountain farmers were created, Nolde became known for his small colored drawings of the Swiss mountains. With the decision to become a painter, Nolde finally went to Munich, but the academy under Franz von Stuck rejected him. This was followed by studies at Adolf Hölzel's private painting school in Dachau and, from 1899, at the Académie Julian in Paris. In 1900 he rents a studio in Copenhagen and in 1903 moves to the island of Alsen. By dealing with the neo-impressionists Vincent van Gogh, Edvard Munch and James Ensor, Nolde moved from his initially romantic naturalism to an independent style in which color played an essential role. color-intensive, luminous flower pictures are created. In 1906, during a stay in Alsen, Nolde met the "Brücke" painters, whose group he temporarily joined. In a series of portrait studies, he began to turn to watercolors. When Nolde made his first attempts at this technique in 1909 on non-absorbent paper, leaving the sheet white in large parts and dispensing with contouring in the object detection, these innovations were forward-looking. In 1910 Emil Nolde was excluded from the "Berliner Sezession" after a controversy with Max Liebermann and founded the "Neue Sezession" with other rejected artists, in whose exhibitions he participated until 1912. Fascinated less by Berlin city life, which he captures in a few expressive pictures, than by primitivism, Nolde paints still lifes with exotic figures and masked pictures. From an expedition to New Guinea in 1913, he brought back a wealth of study material, which he processed in numerous works until 1915. From 1916 he spent the summer on the island of Föhr and settled in Seebüll in 1928. The garden created there becomes an inexhaustible source of inspiration for his painting, coastal landscapes and religious scenes also become main subjects.
Whether shining mysteriously out of the dark or openly in the open in lavish colors, hardly any painter of classical modernism has elicited so many ways of seeing flowers and blossoms as Emil Nolde. Whichever way he saw it, the spontaneous apprehension of the essential remains at the heart of the message. Nolde didn't need any special arrangements to make his flowers stand out. They work out of themselves, even if, like here, they appear almost ghostly out of the dark. The play with form and color, clearly dominated by color in these watercolors, is the artistic essence of these sheets. Thanks to his technique of applying paint to wet paper, Nolde created watercolors whose visual presence has shaped an entire genre. The timeless beauty of these watercolors has endured.
In the last years of his life, he mainly created watercolors with flower and landscape motifs from the vicinity of his house in Seebüll, where Nolde died on April 13, 1956. [KD].
Comments
Post a Comment