Emil Nolde - Zinnien und Sonnenblumen, ca. 1930 - Aquarell

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EMIL NOLDE

Zinnien und Sonnenblumen, Um 1930.
Aquarell

Object description
Zinnias and Sunflowers . Around 1930.
Watercolor.
Signed lower right. On Japan. 38 x 26.2 cm (14.9 x 10.3 in), the full sheet.

• With intensive internal watercolors.
• Floral motif in flaming colors.
• Masterful watercolor by the great German expressionist .

With a photo expertise from Prof. Dr. Manfred Reuther, Seebüll Ada and Emil Nolde Foundation, dated January 4, 2012, in copy.

PROVENANCE: Galerie Thomas, Munich.
Private collection Southern Germany (since 1993, acquired directly from the aforementioned)
Private collection Southern Germany.

LITERATURE: Lempertz Cologne, auction 3.6.1992, lot 343.

essay
Emil Nolde developed an unprecedented mastery in the technique of watercolor, which rightly made him one of the most important painters of German Expressionism. The paper works, which emerge quickly one after the other, require meticulous preparation. Jolanthe Nolde remembered his watercolor technique in the 1950s and describes the process as follows: Nolde dilutes each individual color in a separate container with water. A job that he always does himself because every color needs a different degree of dilution, he feels the relationship. The cups with the colors are positioned in a certain sequence in two rows in the studio. There is a brush in each container, and there are two or three different thicknesses for the important colors. Then there are several vessels with clear water ready this is where the paintbrushes soaked in paint are dipped in before they are placed on the paper. So Nolde literally works with a dripping wet brush. He has to work quickly and often a splash of color has to be integrated into the composition. If Nolde wants to achieve a more intense tone, he walks over the spot several times. He hardly mixes the colors, otherwise they will dull and lose their luminosity. A carpet of color of varying density is created. The sheets are soaked through and through with color, the white paper tone, which can still shine in earlier works, is now almost never used again. The watercolors are utterly color. The Japanese paper, of which he has immense supplies in his studio, gives him the basis to let his beloved colors shine vividly. They give the colors a fabric-like and velvety character. He works with thick, soft sheets, absorbent like blotting paper, and also with finer, wafer-thin types. He cuts the leaves freely by hand, which explains the mostly irregular leaf edges. A large number of the much admired watercolors by Emil Nolde are created using this unique technique. Our exciting floral composition is presented in the warm colors of autumn. Zinnias, red discolored vine leaves and faded sunflowers determine the representation. The previously described work in layers can be seen particularly well in "Zinnias and Sunflowers" and is what makes this watercolor so particularly attractive. Golden reflections of light are set on the flowers and leaves, which skilfully captures the special lighting mood in autumn and literally makes the work glow. [SM]

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