Emil Nolde - Marschlandschaft, ca.1922-25. Aquarell
EMIL NOLDE
Marschlandschaft, Um 1922/25.
Aquarell
Object description
Marshland . Around 1922/25.
Watercolor.
Signed lower right. On Japan. 36.4 x 50.5 cm (14.3 x 19.8 in), the full sheet.
Intense color watercolor with a painting-like effect .
With a photo expertise from Prof. Dr. Manfred Reuther, Seebüll Ada and Emil Nolde Foundation, from October 16, 2014.
PROVENANCE: Galerie Ferdinand Möller, Berlin.
Brain surgeon Prof. Herbert Peiper, Berlin-Charlottenburg.
Private collection North Rhine-Westphalia.
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.
The unusual color density of Emil Nolde's watercolors is due on the one hand to the technique of saturation of the Japanese paper he developed, and on the other hand to the unconditional will to give the Nordic landscape, which he addresses, that urgency of the colors that only a bold will can oppose a found landscape can. Emil Nolde enchants a barren landscape, the optical charms of which are rather meager, and lifts it into a sphere of the magical, which in its color effect conveys an atmospheric content that for Emil Nolde is the basis of his special relationship to the local landscape. An almost demonic sky in a mighty blue is reflected in the puddles of water on the marshland. The crouched farmsteads seem to be the natural part of a landscape, which has no optical extravagance to offer. Nolde solves this by giving absolute priority to color. It determines the composition and its message, tamed only by brushstrokes in Indian ink, the fleeting style of which is in deliberate contrast to the almost monochrome color surfaces.
Ostracized as an artist by the National Socialists and banned from working from 1941, Nolde began painting his "Unpainted Pictures" in Seebüll from 1938, many hundreds of small watercolors, which he took up again after 1945 as oil paintings. 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.
Watercolor.
Signed lower right. On Japan. 36.4 x 50.5 cm (14.3 x 19.8 in), the full sheet.
Intense color watercolor with a painting-like effect .
With a photo expertise from Prof. Dr. Manfred Reuther, Seebüll Ada and Emil Nolde Foundation, from October 16, 2014.
PROVENANCE: Galerie Ferdinand Möller, Berlin.
Brain surgeon Prof. Herbert Peiper, Berlin-Charlottenburg.
Private collection North Rhine-Westphalia.
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.
The unusual color density of Emil Nolde's watercolors is due on the one hand to the technique of saturation of the Japanese paper he developed, and on the other hand to the unconditional will to give the Nordic landscape, which he addresses, that urgency of the colors that only a bold will can oppose a found landscape can. Emil Nolde enchants a barren landscape, the optical charms of which are rather meager, and lifts it into a sphere of the magical, which in its color effect conveys an atmospheric content that for Emil Nolde is the basis of his special relationship to the local landscape. An almost demonic sky in a mighty blue is reflected in the puddles of water on the marshland. The crouched farmsteads seem to be the natural part of a landscape, which has no optical extravagance to offer. Nolde solves this by giving absolute priority to color. It determines the composition and its message, tamed only by brushstrokes in Indian ink, the fleeting style of which is in deliberate contrast to the almost monochrome color surfaces.
Ostracized as an artist by the National Socialists and banned from working from 1941, Nolde began painting his "Unpainted Pictures" in Seebüll from 1938, many hundreds of small watercolors, which he took up again after 1945 as oil paintings. 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.
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