Los

248

Ernst Wilhelm NayDominant GrünÖl auf Leinwand. 100,5 x 160 cm. Gerahmt. Unten rechts schwarz

In Modern Art

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Ernst Wilhelm NayDominant GrünÖl auf Leinwand. 100,5 x 160 cm. Gerahmt. Unten rechts schwarz
Das Auktionshaus hat für dieses Los keine Ergebnisse veröffentlicht
Köln
Ernst Wilhelm Nay
Dominant Grün

Öl auf Leinwand. 100,5 x 160 cm. Gerahmt. Unten rechts schwarz signiert und datiert 'Nay. 55' sowie verso auf dem Keilrahmen signiert, datiert und betitelt 'Nay - "Dominant Grün" - 1955'. - In schönem Erhaltungszustand.

Scheibler 758

Provenienz
Galerie Neher, Essen; Hannover Rückversicherungs AG, Hannover; Privatsammlung Norddeutschland

Ausstellungen
München 1955 (Galerie Günther Franke), Ernst Wilhelm Nay - Die Bilder von 1955 - Frühe Bilder 1938/39, Kat. Nr. 16; Essen 1982 (Galerie Neher), Blickpunkte, Kat. Nr. 30 mit Abb. S. 26/27; Essen 1989 (Galerie Neher), Moderne mit Tradition, Kat. Nr. IX/5 mit Farbabb. S. 71 u. 79

Die Serie der sogenannten „Scheibenbilder“ folgt auf die Serie der „Rhythmischen Bilder“ und beginnt im Jahr 1954 und dauert fortan bis in das Jahr 1962. Mit dieser Reihe inszeniert der Künstler Farbe und Form als „Prozeß des Bildes“, eine neuerliche und sehr wesentliche Änderung in seiner Malerei. „Erst 1953 wurde ich ganz systematisch und versuchte“, so Nay, „mit den Scheiben eine Theorie der Malerei als Grundlage für die Kunst zu entwickeln. [...] Ich entwarf ein eigenes Prinzip und suchte es ab nach allen Seiten in großer Hoffnung auf eine Eröffnung, die entweder kommen musste, oder die ganze Sache war umsonst [...].“ (Ernst Wilhelm Nay, Lesebuch: Selbstzeugnisse und Schriften 1931-1968, Köln 2002, S. 207).
Nays Vorgehensweise formaler Klärung begleitet seine Malerei von Beginn an und gewährleistet seine immer stärker werdende Idee von Autonomie und Unabhängigkeit des Bildes. Der von ihm erfundene Farb- und Formenkanon wirkt durch seine strengen Grundakkorde einem Kosmos entlehnt, in dem frei schwebende Farben und Formen, losgelöst von materieller Gegenständlichkeit und emanzipiert von gegenständlicher Natur, sich so bewegen wie die Töne in Musik, in Gedanken und Gefühlen.
So gesehen ist das Geschehen in diesem Scheibenbild mit den dominant grünen Feldern über den nur leicht angedeuteten, großflächigen, ovalen Grundformen und den wie Satelliten im Raum schwimmenden roten Kreiselemente in Kontrast zu wenigen blauen Inseln sehr bewegt. In ausgeglichener Stille erreicht der Klang der aufeinander treffenden Farben Harmonie und gleichzeitige Dissonanz wie aufgeladene Elementarteilchen, die je nach Kälte und Wärme, je nach Klang und Schönheit der Farbeigenschaften ein Gefühl von vollendeter Ausgewogenheit evozieren. Einen Versuch, das heitere Spiel streng zu klären, die Elemente quasi zur Ordnung zu zwingen, unterlässt der Künstler im Vertrauen auf die magische Kraft der Farben; allein die schwarzen Punktreihen greifen wie Kettungen am Ende in den Bild-Raum systematisierend ein. Nay macht sich hier schwebende Farbphänomene in einer bewegten Farbchoreographie zunutze, die im Zusammenwirken von Farbe (Form), Klang (Bewegung) und Gefühl (Temperament) einen sehr offenen, nahezu transparenten Einklang bilden.

Ernst Wilhelm Nay
Dominant Grün

Oil on canvas. 100.5 x 160 cm. Framed. Signed and dated 'Nay. 55' in black lower right and signed, dated and titled 'Nay - "Dominant Grün" - 1955' verso on stretcher. - In fine condition.

Scheibler 758

Provenance
Galerie Neher, Essen; Hannover Rückversicherungs AG, Hanover; Private collection, North Germany

Exhibitions
Munich 1955 (Galerie Günther Franke), Ernst Wilhelm Nay - Die Bilder von 1955 - Frühe Bilder 1938/39, cat. no. 16; Essen 1982 (Galerie Neher), Blickpunkte, cat. no. 30 with illus pp. 26/27; Essen 1989 (Galerie Neher), Moderne mit Tradition, cat. no. IX/5 with colour illus. p. 71 and 79

The series of so-called “Scheibenbilder” was begun in 1954, following that of the “Rhythmische Bilder”, and was continued until 1962. With this series the artist staged colour and form in terms of a “process of the picture”, a recent and very decisive change in his painting. “Only in 1953 did I become entirely systematic and attempted”, says Nay, “to use the discs to develop a theory of painting as a foundation for art. [...] I conceived my own principle and searched it from all sides, with high hopes regarding an opening that would either have to come, or the whole thing would be for nothing [...].” (Ernst Wilhelm Nay, Lesebuch: Selbstzeugnisse und Schriften 1931-1968, Cologne 2002, p. 207).
Nay's approach of formal clarification accompanied his painting from the very beginning and safeguarded his continually intensified idea of the painting's autonomy and independence. Through the strict tonic chords of its colours, the chromatic and formal canon which he invented seems as though it were borrowed from a cosmos in which free-floating colours and forms - disconnected from material objectivity and emancipated from objective nature - move like tones in music, in thoughts and feelings.
Looked at in this way, what is occurring visually in this disc painting is very dynamic - with the dominant fields of green over the only faintly suggested, extensive, ovoid underlying forms and the red circular elements floating like satellites in space and set in contrast to a few blue islands. In balanced tranquillity, the tonal quality of the colliding colours achieves harmony and a simultaneous dissonance, like charged elementary particles which, based on their coolness or warmth, based on the tone and beauty of their chromatic qualities, evoke a feeling of perfect equilibrium. Trusting in the magical power of the colours, the artist renounces any attempt to rigorously clarify this cheerful interplay, to force an order (so to speak) upon the elements; only the rows of black dots finally intervene in a systematising way, like links in the pictorial space. Here Nay has utilised the floating chromatic phenomena in a dynamic colour choreography that develops a very open, almost transparent harmony in the interaction of colour (form), tonal quality (movement) and feeling (temperament).
Ernst Wilhelm Nay
Dominant Grün

Öl auf Leinwand. 100,5 x 160 cm. Gerahmt. Unten rechts schwarz signiert und datiert 'Nay. 55' sowie verso auf dem Keilrahmen signiert, datiert und betitelt 'Nay - "Dominant Grün" - 1955'. - In schönem Erhaltungszustand.

Scheibler 758

Provenienz
Galerie Neher, Essen; Hannover Rückversicherungs AG, Hannover; Privatsammlung Norddeutschland

Ausstellungen
München 1955 (Galerie Günther Franke), Ernst Wilhelm Nay - Die Bilder von 1955 - Frühe Bilder 1938/39, Kat. Nr. 16; Essen 1982 (Galerie Neher), Blickpunkte, Kat. Nr. 30 mit Abb. S. 26/27; Essen 1989 (Galerie Neher), Moderne mit Tradition, Kat. Nr. IX/5 mit Farbabb. S. 71 u. 79

Die Serie der sogenannten „Scheibenbilder“ folgt auf die Serie der „Rhythmischen Bilder“ und beginnt im Jahr 1954 und dauert fortan bis in das Jahr 1962. Mit dieser Reihe inszeniert der Künstler Farbe und Form als „Prozeß des Bildes“, eine neuerliche und sehr wesentliche Änderung in seiner Malerei. „Erst 1953 wurde ich ganz systematisch und versuchte“, so Nay, „mit den Scheiben eine Theorie der Malerei als Grundlage für die Kunst zu entwickeln. [...] Ich entwarf ein eigenes Prinzip und suchte es ab nach allen Seiten in großer Hoffnung auf eine Eröffnung, die entweder kommen musste, oder die ganze Sache war umsonst [...].“ (Ernst Wilhelm Nay, Lesebuch: Selbstzeugnisse und Schriften 1931-1968, Köln 2002, S. 207).
Nays Vorgehensweise formaler Klärung begleitet seine Malerei von Beginn an und gewährleistet seine immer stärker werdende Idee von Autonomie und Unabhängigkeit des Bildes. Der von ihm erfundene Farb- und Formenkanon wirkt durch seine strengen Grundakkorde einem Kosmos entlehnt, in dem frei schwebende Farben und Formen, losgelöst von materieller Gegenständlichkeit und emanzipiert von gegenständlicher Natur, sich so bewegen wie die Töne in Musik, in Gedanken und Gefühlen.
So gesehen ist das Geschehen in diesem Scheibenbild mit den dominant grünen Feldern über den nur leicht angedeuteten, großflächigen, ovalen Grundformen und den wie Satelliten im Raum schwimmenden roten Kreiselemente in Kontrast zu wenigen blauen Inseln sehr bewegt. In ausgeglichener Stille erreicht der Klang der aufeinander treffenden Farben Harmonie und gleichzeitige Dissonanz wie aufgeladene Elementarteilchen, die je nach Kälte und Wärme, je nach Klang und Schönheit der Farbeigenschaften ein Gefühl von vollendeter Ausgewogenheit evozieren. Einen Versuch, das heitere Spiel streng zu klären, die Elemente quasi zur Ordnung zu zwingen, unterlässt der Künstler im Vertrauen auf die magische Kraft der Farben; allein die schwarzen Punktreihen greifen wie Kettungen am Ende in den Bild-Raum systematisierend ein. Nay macht sich hier schwebende Farbphänomene in einer bewegten Farbchoreographie zunutze, die im Zusammenwirken von Farbe (Form), Klang (Bewegung) und Gefühl (Temperament) einen sehr offenen, nahezu transparenten Einklang bilden.

Ernst Wilhelm Nay
Dominant Grün

Oil on canvas. 100.5 x 160 cm. Framed. Signed and dated 'Nay. 55' in black lower right and signed, dated and titled 'Nay - "Dominant Grün" - 1955' verso on stretcher. - In fine condition.

Scheibler 758

Provenance
Galerie Neher, Essen; Hannover Rückversicherungs AG, Hanover; Private collection, North Germany

Exhibitions
Munich 1955 (Galerie Günther Franke), Ernst Wilhelm Nay - Die Bilder von 1955 - Frühe Bilder 1938/39, cat. no. 16; Essen 1982 (Galerie Neher), Blickpunkte, cat. no. 30 with illus pp. 26/27; Essen 1989 (Galerie Neher), Moderne mit Tradition, cat. no. IX/5 with colour illus. p. 71 and 79

The series of so-called “Scheibenbilder” was begun in 1954, following that of the “Rhythmische Bilder”, and was continued until 1962. With this series the artist staged colour and form in terms of a “process of the picture”, a recent and very decisive change in his painting. “Only in 1953 did I become entirely systematic and attempted”, says Nay, “to use the discs to develop a theory of painting as a foundation for art. [...] I conceived my own principle and searched it from all sides, with high hopes regarding an opening that would either have to come, or the whole thing would be for nothing [...].” (Ernst Wilhelm Nay, Lesebuch: Selbstzeugnisse und Schriften 1931-1968, Cologne 2002, p. 207).
Nay's approach of formal clarification accompanied his painting from the very beginning and safeguarded his continually intensified idea of the painting's autonomy and independence. Through the strict tonic chords of its colours, the chromatic and formal canon which he invented seems as though it were borrowed from a cosmos in which free-floating colours and forms - disconnected from material objectivity and emancipated from objective nature - move like tones in music, in thoughts and feelings.
Looked at in this way, what is occurring visually in this disc painting is very dynamic - with the dominant fields of green over the only faintly suggested, extensive, ovoid underlying forms and the red circular elements floating like satellites in space and set in contrast to a few blue islands. In balanced tranquillity, the tonal quality of the colliding colours achieves harmony and a simultaneous dissonance, like charged elementary particles which, based on their coolness or warmth, based on the tone and beauty of their chromatic qualities, evoke a feeling of perfect equilibrium. Trusting in the magical power of the colours, the artist renounces any attempt to rigorously clarify this cheerful interplay, to force an order (so to speak) upon the elements; only the rows of black dots finally intervene in a systematising way, like links in the pictorial space. Here Nay has utilised the floating chromatic phenomena in a dynamic colour choreography that develops a very open, almost transparent harmony in the interaction of colour (form), tonal quality (movement) and feeling (temperament).

Modern Art

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Germany

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