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Emil NoldeTosendes Meer
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Emil Nolde
Tosendes Meer

Aquarell auf Japanpapier 33,5 x 45,5 cm Unter Glas gerahmt. Unten rechts mit Feder und schwarzer Tusche signiert 'Nolde'. - In sehr schöner, farbfrischer Erhaltung.

Mit einer Foto-Expertise von Manfred Reuther, Klockries, vom 12. Oktober 2020.
Das Werk ist in seinem Archiv unter der Nummer "Nolde A - 184/2020" registriert und dokumentiert.

Wir danken Christian Ring, Stiftung Seebüll Ada und Emil Nolde, für ergänzende Informationen.

Provenienz
Jolanthe Nolde, geb. Erdmann (1921-2010), Nachlass; seitdem in Familienbesitz

Ausstellungen
Heidelberg 1958 (Kunstverein), Emil Nolde. Gemälde - Aquarelle - Graphik. Eine Privat-Sammlung, Kat. Nr. 35 ("Tosendes Meer")

Literatur
Vgl. Emil Nolde, Am Westmeer 1930, in: Emil Nolde. Mein Leben, Köln 1976, S. 376-379 sowie Martin Urban, Nachwort, ebenda S. 418

Die Farb- und Formgewalt von Noldes Aquarell „Tosendes Meer“ erinnert daran, welchen künstlerisch hohen Stellenwert die Meeresbilder in seinem Oeuvre einnehmen. Die Ölbilder entstehen - rauschhaft und wie in Extase gemalt - z.T. hintereinander in großen gemalten Folgen, insbesondere 1930 anlässlich des Aufenthaltes auf Sylt (vgl. „Meer“ A - F, Urban 1100-1105; davon nur 4 Bilder heute erhalten, darunter „Meer B“ in der Tate Gallery, „Meer E“ in der Nolde-Stiftung). Nach dem Krieg 1947 folgen vergleichbare Formate, von denen eines Jolanthe Nolde gehörte und im Heidelberger Kunstverein 1958 zusammen mit dem vorliegenden Aquarell ausgestellt war (vgl. Urban 1290 sowie Urban 1291-1292, „Meer“ I-III). Noldes ausdrucksstarke Papierarbeiten begleiteten die Gemälde, das Medium des Aquarells schien dazu wie geschaffen.
Wie sehr den Künstler das Thema als Erlebnis fesselte, zeigen seine stakkatoartigen Ausführungen „Am Westmeer“ von seinem Sylter Aufenthalt im Sommer und Herbst 1930: „Es war, als ob die freie Luft, der salzige Geschmack, die tosenden Wogen mich spornten und beglückten. […] Die Wogen, ihr Grollen, die Wolken vor und über mir, der Strand, die Dünen, das graue Gras, es alles war mein. […] Wie ein Trunkener lief ich stundenlang den Strand entlang oder durch den flüssigen Sand der Dünen, meine Gesänge schreiend, wo es einsam war, schreiend mit den Möwen, die auch so schreien. […] Ich begriff alles kaum und nahm es hin, gelassen bewegt, wie auch meine Farben es waren, ob ich die graugrünen Dünen malte, das tosende Meer oder die Menschen.“ (Emil Nolde, Mein Leben, op.cit., S. 377). Seine Naturerfahrung ist eine mit allen Sinnen wahrgenommene und dieses sensorische, auch akustische Moment findet sich mit aller Meisterschaft in seinem Werk umgesetzt.
In der vorliegenden Komposition ist die Intensität und Farbfrische des Mediums in selten schöner Erhaltung besonders beglückend: die Farben glühen und fluoreszieren, man erlebt die Bewegung untergründiger Tiefenströmungen in starken wie rhythmischen Hell-Dunkel-Kontrasten und transparenten Farblagen, die Wogen mit ihrer explosiv aufschäumenden Gischt als ein moduliertes, blendendes Weiß, wobei der Malgrund, ein faseriges Japanbütten, einbezogen wird. Die Expressivität des Blattes resultiert nicht zuletzt aus der Sicherheit und Freiheit, mit der Nolde instinkthaft das Motiv quasi à rebours entwickelt, denn die flüssige malerische Bewegung unterstreicht die Urgewalt der von rechts nach links heranlaufenden, unruhigen Wassermassen, die sich zu einem schimmernden zentralen Brecher aufsteilen.





Emil Nolde
Tosendes Meer

Watercolour on Japan paper 33.5 x 45.5 cm Framed under glass. Signed 'Nolde' in pen and black ink lower right. - In very fine condition with fresh colours.

With a photo-certificate by Manfred Reuther, Klockries, dated 12 October 2020.
The work is registered and documented in his archive under number "Nolde A - 184/2020".

We would like to thank Christian Ring, Stiftung Seebüll Ada und Emil Nolde, for additional information.

Provenance
Jolanthe Nolde, geb. Erdmann (1921-2010), estate; since then in family possession

Exhibitions
Heidelberg 1958 (Kunstverein), Emil Nolde. Gemälde - Aquarelle - Graphik. Eine Privat-Sammlung, cat. no. 35 ("Tosendes Meer")

Literature
Cf. Emil Nolde, Am Westmeer 1930, in: Emil Nolde. Mein Leben, Cologne 1976, p. 376-379, and Martin Urban, Nachwort, ibid. p. 418

The chromatic and formal force of Nolde's watercolour “Tosendes Meer” reminds us of the high artistic status that seascapes possessed within his oeuvre. The pictures done in oils - painted in exhilaration, as if in ecstasy - were sometimes created one after the other in large painted series, particularly in 1930, on the occasion of his stay on Sylt (see “Meer” A - F, Urban 1100-1105; of which only 4 pictures are preserved today, including “Meer B” in the Tate Gallery and “Meer E” in the Nolde-Stiftung). After the war, in 1947, paintings of comparable formats followed, one of which belonged to Jolanthe Nolde and was exhibited at the Heidelberger Kunstverein in 1958, together with the present watercolour (see Urban 1290 and Urban 1291-1292, “Meer” I-III). Nolde's highly expressive works on paper accompanied his paintings; the medium of the watercolour seemed particularly adequate for this purpose.
The extent to which this theme captivated the artist as an experience is shown by the staccato-like observations “Am Westmeer”, from his stay on Sylt in the summer and autumn of 1930: “It was as if the open air, the salty taste, the roaring waves spurred me on and delighted me. […] The waves, their rumbling, the clouds before and above me, the beach, the dunes, the grey grass: it was all mine. […] Like a drunk I walked along the beach for hours or through the liquid sand of the dunes, screaming my songs where it was secluded, screaming with the seagulls, which also scream like that. […] I barely understood everything and accepted it, calmly moved - like my colours were, too - whether I was painting the greyish green dunes, the roaring sea or the people.” (Emil Nolde, Mein Leben, Cologne, 1976, p. 377). His experience of nature is one perceived with all the senses and this sensory, also acoustic, aspect finds itself realised with complete mastery in his work.
The intensity and fresh colours of the medium are unusually finely preserved and are particularly pleasing in the present composition: the colours smoulder and glow, we experience the movement of deep, submerged currents in stark and rhythmic contrasts of light and dark as well as transparent layers of colour, and we experience the waves, with their explosively foaming spray, as a modulated, dazzling white that also incorporates the painting's support - a fibrous, laid Japan paper. The sheet's expressivity is not least the result of the confidence and freedom with which Nolde has instinctively developed the motif, so to speak, “à rebours”: the fluid painterly movement underscores the primal force of the troubled masses of water flowing towards us from right to left, rising up steeply into a shimmering, central breaker.





Emil Nolde
Tosendes Meer

Aquarell auf Japanpapier 33,5 x 45,5 cm Unter Glas gerahmt. Unten rechts mit Feder und schwarzer Tusche signiert 'Nolde'. - In sehr schöner, farbfrischer Erhaltung.

Mit einer Foto-Expertise von Manfred Reuther, Klockries, vom 12. Oktober 2020.
Das Werk ist in seinem Archiv unter der Nummer "Nolde A - 184/2020" registriert und dokumentiert.

Wir danken Christian Ring, Stiftung Seebüll Ada und Emil Nolde, für ergänzende Informationen.

Provenienz
Jolanthe Nolde, geb. Erdmann (1921-2010), Nachlass; seitdem in Familienbesitz

Ausstellungen
Heidelberg 1958 (Kunstverein), Emil Nolde. Gemälde - Aquarelle - Graphik. Eine Privat-Sammlung, Kat. Nr. 35 ("Tosendes Meer")

Literatur
Vgl. Emil Nolde, Am Westmeer 1930, in: Emil Nolde. Mein Leben, Köln 1976, S. 376-379 sowie Martin Urban, Nachwort, ebenda S. 418

Die Farb- und Formgewalt von Noldes Aquarell „Tosendes Meer“ erinnert daran, welchen künstlerisch hohen Stellenwert die Meeresbilder in seinem Oeuvre einnehmen. Die Ölbilder entstehen - rauschhaft und wie in Extase gemalt - z.T. hintereinander in großen gemalten Folgen, insbesondere 1930 anlässlich des Aufenthaltes auf Sylt (vgl. „Meer“ A - F, Urban 1100-1105; davon nur 4 Bilder heute erhalten, darunter „Meer B“ in der Tate Gallery, „Meer E“ in der Nolde-Stiftung). Nach dem Krieg 1947 folgen vergleichbare Formate, von denen eines Jolanthe Nolde gehörte und im Heidelberger Kunstverein 1958 zusammen mit dem vorliegenden Aquarell ausgestellt war (vgl. Urban 1290 sowie Urban 1291-1292, „Meer“ I-III). Noldes ausdrucksstarke Papierarbeiten begleiteten die Gemälde, das Medium des Aquarells schien dazu wie geschaffen.
Wie sehr den Künstler das Thema als Erlebnis fesselte, zeigen seine stakkatoartigen Ausführungen „Am Westmeer“ von seinem Sylter Aufenthalt im Sommer und Herbst 1930: „Es war, als ob die freie Luft, der salzige Geschmack, die tosenden Wogen mich spornten und beglückten. […] Die Wogen, ihr Grollen, die Wolken vor und über mir, der Strand, die Dünen, das graue Gras, es alles war mein. […] Wie ein Trunkener lief ich stundenlang den Strand entlang oder durch den flüssigen Sand der Dünen, meine Gesänge schreiend, wo es einsam war, schreiend mit den Möwen, die auch so schreien. […] Ich begriff alles kaum und nahm es hin, gelassen bewegt, wie auch meine Farben es waren, ob ich die graugrünen Dünen malte, das tosende Meer oder die Menschen.“ (Emil Nolde, Mein Leben, op.cit., S. 377). Seine Naturerfahrung ist eine mit allen Sinnen wahrgenommene und dieses sensorische, auch akustische Moment findet sich mit aller Meisterschaft in seinem Werk umgesetzt.
In der vorliegenden Komposition ist die Intensität und Farbfrische des Mediums in selten schöner Erhaltung besonders beglückend: die Farben glühen und fluoreszieren, man erlebt die Bewegung untergründiger Tiefenströmungen in starken wie rhythmischen Hell-Dunkel-Kontrasten und transparenten Farblagen, die Wogen mit ihrer explosiv aufschäumenden Gischt als ein moduliertes, blendendes Weiß, wobei der Malgrund, ein faseriges Japanbütten, einbezogen wird. Die Expressivität des Blattes resultiert nicht zuletzt aus der Sicherheit und Freiheit, mit der Nolde instinkthaft das Motiv quasi à rebours entwickelt, denn die flüssige malerische Bewegung unterstreicht die Urgewalt der von rechts nach links heranlaufenden, unruhigen Wassermassen, die sich zu einem schimmernden zentralen Brecher aufsteilen.





Emil Nolde
Tosendes Meer

Watercolour on Japan paper 33.5 x 45.5 cm Framed under glass. Signed 'Nolde' in pen and black ink lower right. - In very fine condition with fresh colours.

With a photo-certificate by Manfred Reuther, Klockries, dated 12 October 2020.
The work is registered and documented in his archive under number "Nolde A - 184/2020".

We would like to thank Christian Ring, Stiftung Seebüll Ada und Emil Nolde, for additional information.

Provenance
Jolanthe Nolde, geb. Erdmann (1921-2010), estate; since then in family possession

Exhibitions
Heidelberg 1958 (Kunstverein), Emil Nolde. Gemälde - Aquarelle - Graphik. Eine Privat-Sammlung, cat. no. 35 ("Tosendes Meer")

Literature
Cf. Emil Nolde, Am Westmeer 1930, in: Emil Nolde. Mein Leben, Cologne 1976, p. 376-379, and Martin Urban, Nachwort, ibid. p. 418

The chromatic and formal force of Nolde's watercolour “Tosendes Meer” reminds us of the high artistic status that seascapes possessed within his oeuvre. The pictures done in oils - painted in exhilaration, as if in ecstasy - were sometimes created one after the other in large painted series, particularly in 1930, on the occasion of his stay on Sylt (see “Meer” A - F, Urban 1100-1105; of which only 4 pictures are preserved today, including “Meer B” in the Tate Gallery and “Meer E” in the Nolde-Stiftung). After the war, in 1947, paintings of comparable formats followed, one of which belonged to Jolanthe Nolde and was exhibited at the Heidelberger Kunstverein in 1958, together with the present watercolour (see Urban 1290 and Urban 1291-1292, “Meer” I-III). Nolde's highly expressive works on paper accompanied his paintings; the medium of the watercolour seemed particularly adequate for this purpose.
The extent to which this theme captivated the artist as an experience is shown by the staccato-like observations “Am Westmeer”, from his stay on Sylt in the summer and autumn of 1930: “It was as if the open air, the salty taste, the roaring waves spurred me on and delighted me. […] The waves, their rumbling, the clouds before and above me, the beach, the dunes, the grey grass: it was all mine. […] Like a drunk I walked along the beach for hours or through the liquid sand of the dunes, screaming my songs where it was secluded, screaming with the seagulls, which also scream like that. […] I barely understood everything and accepted it, calmly moved - like my colours were, too - whether I was painting the greyish green dunes, the roaring sea or the people.” (Emil Nolde, Mein Leben, Cologne, 1976, p. 377). His experience of nature is one perceived with all the senses and this sensory, also acoustic, aspect finds itself realised with complete mastery in his work.
The intensity and fresh colours of the medium are unusually finely preserved and are particularly pleasing in the present composition: the colours smoulder and glow, we experience the movement of deep, submerged currents in stark and rhythmic contrasts of light and dark as well as transparent layers of colour, and we experience the waves, with their explosively foaming spray, as a modulated, dazzling white that also incorporates the painting's support - a fibrous, laid Japan paper. The sheet's expressivity is not least the result of the confidence and freedom with which Nolde has instinctively developed the motif, so to speak, “à rebours”: the fluid painterly movement underscores the primal force of the troubled masses of water flowing towards us from right to left, rising up steeply into a shimmering, central breaker.




Evening Sale - Moderne und Zeitgenössische Kunst

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Neumarkt 3
Köln
50667
Germany

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Conditions of sale
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