Description: Signed 'Nolde' in pen and ink lower left.This piece is recorded in the archives of the Stiftung Ada und Emil Nolde in Seebüll.With few exceptions Emil Nolde's large landscape watercolours were created during the period from 1918/19 to 1951; according to Martin Urban it is only rarely possible to date them precisely (cf. Martin Urban, Emil Nolde: Landschaften; Aquarelle und Zeichnungen, Cologne 1969, p. 32). Nolde's watercolour technique had already become established by that point in time, however, this did not prevent him from experimenting with different types of paper and painting techniques. His works were created without any sketched preliminary drawing: only isolated forms of objects, such as the haystacks and trees in the present work, are outlined with broad contour lines. Nolde appreciated a drawing's organic developing out of the colours, and the outlines loosely drawn on the free compositions of colour thus look as though they were an integral element of a complex painting process: “It is very difficult to draw through painting and paint through drawing, working without rules; I do it as best I can. It is presumably the highest type of artistic creation, as far as technique is concerned.” (Emil Nolde on 25 May 1945, cited in: Martin Urban, op. cit., p. 32).Nolde's central means of expression is colour; it is his most important artistic means and the essence of his experience of the world. In subtly modulated passages of green, yellow and blue, colour brings order to the image of the late-summer marsh landscape, spreads out in vibrating planes and in their dynamic forms it evokes a tone that sometimes possesses a musical quality. The simplification and summarisation of surfaces in space defines the composition and provides the contrast-rich landscape depiction with its strikingly direct expressive power.
Dimensions: 35.5 x 47.5 cm
Artist or Maker: Emil Nolde
Medium: Watercolour on soft, fibrous Japan paper Framed under glass
Condition Report: The colours fresh, the upper right corners with small pin holes.
Provenance: From the artist's estate; Galerie Wilhelm Grosshennig, Düsseldorf (purchased in 1964 by Joachim von Lepel, the then director of the Nolde Museum in Seebüll); Weinmüller, Munich (1965); purchased there in 1967
Notes: Droit de suite according to conditions of sale
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