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341

Emil NoldeMarschlandschaft mit Strohdiemen Aquarell auf weichem faserhaltigem Japanpapier. 35,5 x

In Modern Art

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Emil NoldeMarschlandschaft mit Strohdiemen Aquarell auf weichem faserhaltigem Japanpapier. 35,5 x
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Emil Nolde
Marschlandschaft mit Strohdiemen

Aquarell auf weichem faserhaltigem Japanpapier. 35,5 x 47,5 cm. Unter Glas gerahmt. Unten links mit Tuschfeder signiert 'Nolde'. - Farbfrisch erhalten, die oberen Ecken mit kleinen Reißnagellöchern.

Die Arbeit ist im Archiv der Stiftung Ada und Emil Nolde, Seebüll, verzeichnet.

Provenienz
Nachlass des Künstlers; Galerie Wilhelm Grosshennig, Düsseldorf (1964, erworben von Joachim von Lepel, dem damaligen Direktor des Nolde-Museums Seebüll); Weinmüller, München (1965); dort 1967 erworben

Emil Noldes zentrales Ausdrucksmittel ist die Farbe, sie ist wichtigstes bildnerisches Mittel und Essenz seines Welterlebens. In nuancenreich modulierten grünen, gelben und blauen Partien ordnet er die Darstellung der spätsommerliche Marschlandschaft, die sich dem Betrachter in vibrierenden Flächen präsentiert und in ihren bewegten Formen einen Klang von mitunter musikalischer Qualität evoziert. Vereinfachung und Zusammenfassung der Flächen im Raum bestimmen die Komposition und verhelfen der kontrastreichen Landschaft zu ihrer auffällig unmittelbaren Ausdruckskraft.
Nolde malte seine großen Landschaftsaquarelle mit wenigen Ausnahmen im Zeitraum von 1918/19 bis 1951, ihre genaue Datierung ist laut Martin Urban nur selten möglich (vgl. Martin Urban, Emil Nolde. Landschaften. Aquarelle und Zeichnungen, Köln 1969, S. 32). Seine Werke entstehen ohne skizzierende Vorzeichnungen, lediglich einzelne Gegenstandsformen, wie etwa die Diemen und Bäume der vorliegenden Arbeit, umreißt er mit breiten konturierenden Linien. Der Künstler schätzte es, wenn sich Zeichnung organisch aus den Farben entwickelte und so scheinen die locker auf die freie Farbkomposition gezeichneten Umrisse gleichsam als integrales Element eines komplexen Malprozesses: „Regellos zeichnend malen und malend zeichnen ist sehr schwer, ich tue es so gut ich es kann. Es ist die wohl höchste Art des künstlerischen Schaffens, soweit es das Technische betrifft.“ (Emil Nolde am 25. Mai 1945, zit. nach: Martin Urban, op. cit., S. 32).

Emil Nolde
Marschlandschaft mit Strohdiemen

Watercolour on soft, fibrous Japan paper. 35.5 x 47.5 cm. Framed under glass. Signed 'Nolde' in pen and ink lower left. - The colours fresh, the upper right corners with small pin holes.

This work is recorded in the archives of the Stiftung Ada und Emil Nolde in Seebüll.

Provenance
From the artist's estate; Galerie Wilhelm Grosshennig, Düsseldorf (acquired in 1964 by Joachim von Lepel, the then director of the Nolde Museum in Seebüll); Weinmüller, Munich (1965); acquired there in 1967

Colour is Emil Nolde's central medium of expression: 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, he uses it to arrange his depiction of a fen landscape in late summer, which is presented to viewers in vibrating shapes and, in its dynamic forms, evokes a tonality possessing a musical quality at times. The composition is defined by the simplification and summary depiction of surfaces in space, and this helps provide the high-contrast landscape with its strikingly direct expressive power.
With few exceptions Nolde painted his large landscape watercolours in the period between 1918/19 and 1951; according to Martin Urban it is only rarely possible to date them precisely (see Martin Urban, Emil Nolde: Landschaften; Aquarelle und Zeichnungen, Cologne 1969, p. 32). He created his works without sketched preliminary drawing; the forms of objects, such as the haystacks and trees in the present painting, are only occasionally outlined with broad lines establishing their contours. The artist liked for drawing to develop organically out of the colours, and the outlines drawn loosely on to the free chromatic composition thus simultaneously seem to be an integral element of a complex painting process: “Painting by drawing and drawing by painting and doing so without rules is very difficult; I do it as well as I can. It is surely 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).
Emil Nolde
Marschlandschaft mit Strohdiemen

Aquarell auf weichem faserhaltigem Japanpapier. 35,5 x 47,5 cm. Unter Glas gerahmt. Unten links mit Tuschfeder signiert 'Nolde'. - Farbfrisch erhalten, die oberen Ecken mit kleinen Reißnagellöchern.

Die Arbeit ist im Archiv der Stiftung Ada und Emil Nolde, Seebüll, verzeichnet.

Provenienz
Nachlass des Künstlers; Galerie Wilhelm Grosshennig, Düsseldorf (1964, erworben von Joachim von Lepel, dem damaligen Direktor des Nolde-Museums Seebüll); Weinmüller, München (1965); dort 1967 erworben

Emil Noldes zentrales Ausdrucksmittel ist die Farbe, sie ist wichtigstes bildnerisches Mittel und Essenz seines Welterlebens. In nuancenreich modulierten grünen, gelben und blauen Partien ordnet er die Darstellung der spätsommerliche Marschlandschaft, die sich dem Betrachter in vibrierenden Flächen präsentiert und in ihren bewegten Formen einen Klang von mitunter musikalischer Qualität evoziert. Vereinfachung und Zusammenfassung der Flächen im Raum bestimmen die Komposition und verhelfen der kontrastreichen Landschaft zu ihrer auffällig unmittelbaren Ausdruckskraft.
Nolde malte seine großen Landschaftsaquarelle mit wenigen Ausnahmen im Zeitraum von 1918/19 bis 1951, ihre genaue Datierung ist laut Martin Urban nur selten möglich (vgl. Martin Urban, Emil Nolde. Landschaften. Aquarelle und Zeichnungen, Köln 1969, S. 32). Seine Werke entstehen ohne skizzierende Vorzeichnungen, lediglich einzelne Gegenstandsformen, wie etwa die Diemen und Bäume der vorliegenden Arbeit, umreißt er mit breiten konturierenden Linien. Der Künstler schätzte es, wenn sich Zeichnung organisch aus den Farben entwickelte und so scheinen die locker auf die freie Farbkomposition gezeichneten Umrisse gleichsam als integrales Element eines komplexen Malprozesses: „Regellos zeichnend malen und malend zeichnen ist sehr schwer, ich tue es so gut ich es kann. Es ist die wohl höchste Art des künstlerischen Schaffens, soweit es das Technische betrifft.“ (Emil Nolde am 25. Mai 1945, zit. nach: Martin Urban, op. cit., S. 32).

Emil Nolde
Marschlandschaft mit Strohdiemen

Watercolour on soft, fibrous Japan paper. 35.5 x 47.5 cm. Framed under glass. Signed 'Nolde' in pen and ink lower left. - The colours fresh, the upper right corners with small pin holes.

This work is recorded in the archives of the Stiftung Ada und Emil Nolde in Seebüll.

Provenance
From the artist's estate; Galerie Wilhelm Grosshennig, Düsseldorf (acquired in 1964 by Joachim von Lepel, the then director of the Nolde Museum in Seebüll); Weinmüller, Munich (1965); acquired there in 1967

Colour is Emil Nolde's central medium of expression: 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, he uses it to arrange his depiction of a fen landscape in late summer, which is presented to viewers in vibrating shapes and, in its dynamic forms, evokes a tonality possessing a musical quality at times. The composition is defined by the simplification and summary depiction of surfaces in space, and this helps provide the high-contrast landscape with its strikingly direct expressive power.
With few exceptions Nolde painted his large landscape watercolours in the period between 1918/19 and 1951; according to Martin Urban it is only rarely possible to date them precisely (see Martin Urban, Emil Nolde: Landschaften; Aquarelle und Zeichnungen, Cologne 1969, p. 32). He created his works without sketched preliminary drawing; the forms of objects, such as the haystacks and trees in the present painting, are only occasionally outlined with broad lines establishing their contours. The artist liked for drawing to develop organically out of the colours, and the outlines drawn loosely on to the free chromatic composition thus simultaneously seem to be an integral element of a complex painting process: “Painting by drawing and drawing by painting and doing so without rules is very difficult; I do it as well as I can. It is surely 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).

Modern Art

Auktionsdatum
Ort der Versteigerung
Neumarkt 3
Köln
50667
Germany

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Also:
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(31,00 % für den 400.000 EUR übersteigenden Anteil des Zuschlags)
Differenzbesteuerung, MwSt. enthalten, aber nicht ausgewiesen, nicht erstattbar

Also:
24,00 % Aufgeld auf den Zuschlagspreis
(20,00 % für den 400.001 EUR übersteigenden Anteil des Zuschlags)
7,00 % verauslagte Einfuhrumsatzsteuer auf den Zuschlagspreis, erstattbar bei Export aus der EU
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