163
Ernst Wilhelm NayFisch und Muschel
Beschreibung
Ernst Wilhelm Nay
Fisch und Muschel
Öl auf Leinwand 59,4 x 47,5 cm Gerahmt. Unten links schwarz signiert und datiert 'E.W.Nay 1932' - Partiell mit Frühschwundrissen und feinem Craquelé. Kleinere Retuschen vor allem im Bereich der Leinwandkanten.
Scheibler Bd. I 122
Provenienz
Uli Nimptsch, London (1897-1977, Bildhauer); Klaus Bingemer, Köln, Nachlass; seitdem in Familienbesitz
Literatur
Werner Haftmann, E. W. Nay, Köln 1960, S. 46 mit Abb. Tafel 4.; Werner Haftmann, E.W. Nay, Köln 1991 (erweiterte Neuausgabe), S. 50 mit Farbabb. S. 51; Ernst Wilhelm Nay, Regesten zu Leben und Werk, in: Ernst Wilhelm Nay - Bilder und Dokumente, München 1980, S. 58 mit Abb. Kat. Nr. 11 ("Muschel und Fisch")
In diesem bedeutsamen Frühwerk Ernst Wilhelm Nays erscheint eine Form künstlerischer Erkenntnis, die noch vor dem großen Erlebnis der norwegischen Lofoten-Landschaft zu einem relativ klaren Ausdruck geriet. Es ist eine vorläufige wie hochinteressante Stufe bezogen auf die weitere Werkentwicklung. Elisabeth Nay-Scheibler hatte schlicht wie treffend von dem „geheimnisvoll-intuitiven Prozeß seines malerischen Schaffens“ gesprochen (vgl. E.W. Nay, Lesebuch, Selbstzeugnisse und Schriften 1931-1968, Köln 2002, Einführung, S. 6). Man erkennt in der vorliegenden Komposition zweifellos Elemente erotischer Symbolik, die vordergründig wie surrealistisch inszeniert erscheinen. Doch verweist die hier gewonnene zweigeteilte Bildformel vielmehr in nuce auf das Problem von Form und Ausdruck, um das Nay als Mensch wie als Künstler rang. Dieser innere Kampf war eine Suche nach den ursprünglichen Quellen, den Urgründen des Lebens wie des künstlerischen Schaffens:
„Die Idee, die meiner Kunst zugrunde liegt, ist zugleich meine Mitte, mein Lebensgesetz überhaupt: die mythische Gebundenheit, über die ich mich vor nunmehr sieben Jahren zum ersten Mal aussprach. Es ist darunter die urtümliche Bindung des Menschen an Erde und Himmel zu verstehen, Erde wie Himmel sind Formen der ewigen Bewegung, des Werdens und Vergehens der Ewigkeit. Dies ist ja kein Programm, keine Theorie oder ein religiöser Einfall, eher eine Vision. Über die romantische Ichbezogenheit, über die religiöse Esbezogenheit der Mystik hinaus eröffnet sich der mythische Bezirk, in dem das Urlebensgesetz in heller, kühler Klarheit Wirklichkeit ist. Diese Wirklichkeit ist der Sinn meiner Gestaltung.“ (E.W. Nay an Carl Hagemann 1937, in: E.W. Nay, Lesebuch, op. cit. S. 16).
Ernst Wilhelm Nay
Fisch und Muschel
Oil on canvas 59.4 x 47.5 cm Framed. Signed and dated 'E.W.Nay 1932' in black lower left. - Partially with early-stage shrinkage cracks and fine craquelure. Minor retouches particularly to canvas edges.
Scheibler vol. I 122
Provenance
Uli Nimptsch, London (1897-1977, sculptor); Klaus Bingemer, Cologne, estate; in family possession since
Literature
Werner Haftmann, E. W. Nay, Cologne 1960, p. 46 with illus. plate 4; Werner Haftmann, E.W. Nay, Cologne 1991 (expanded new edition), p. 50 with colour illus. p. 51; Ernst Wilhelm Nay, Regesten zu Leben und Werk, in: Ernst Wilhelm Nay - Bilder und Dokumente, Munich 1980, p. 58 with illus. cat. no. 11 ("Muschel und Fisch")
In this important early work by Ernst Wilhelm Nay, a form of artistic insight appears which arrives at a relatively clear expression - even before his key experience of the landscape of Norway's Lofoten islands. It occupies a preliminary and highly interesting stage on the way to his further development. Elisabeth Nay-Scheibler has spoken simply and aptly of the “mysterious and intuitive process of his work as a painter” (see E.W. Nay, Lesebuch, Selbstzeugnisse und Schriften 1931-1968, Cologne 2002, Einführung, p. 6). In the present composition, we undoubtedly recognise elements of erotic symbolism that superficially appear to be presented in a Surrealist manner. However, the bisected pictorial formula achieved here actually points concisely to the problem of form and expression with which Nay wrestled as an individual and artist. This inner struggle was a search for the original sources, the primal foundations of life as well as of the artist's work:
“The idea on which my art is founded is simultaneously my core, the law of my life as a whole: the mythical bond which I spoke about for the first time what is now seven years ago. This is to be understood as humanity's primeval bond with the earth and sky; earth and sky are forms of the eternal movement, the becoming and declining of eternity. This is, after all, not a programme, not a theory or a religious notion, more a vision. Beyond the Romantic connection to the ego, beyond mysticism's religious connection to the id, the mythical realm opens up - where the primal law of life is reality in a bright, cool clarity. This reality is the significance of my creation of form.” (E.W. Nay to Carl Hagemann, 1937, in: E.W. Nay, Lesebuch, op. cit., p. 16).
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Ernst Wilhelm Nay
Fisch und Muschel
Öl auf Leinwand 59,4 x 47,5 cm Gerahmt. Unten links schwarz signiert und datiert 'E.W.Nay 1932' - Partiell mit Frühschwundrissen und feinem Craquelé. Kleinere Retuschen vor allem im Bereich der Leinwandkanten.
Scheibler Bd. I 122
Provenienz
Uli Nimptsch, London (1897-1977, Bildhauer); Klaus Bingemer, Köln, Nachlass; seitdem in Familienbesitz
Literatur
Werner Haftmann, E. W. Nay, Köln 1960, S. 46 mit Abb. Tafel 4.; Werner Haftmann, E.W. Nay, Köln 1991 (erweiterte Neuausgabe), S. 50 mit Farbabb. S. 51; Ernst Wilhelm Nay, Regesten zu Leben und Werk, in: Ernst Wilhelm Nay - Bilder und Dokumente, München 1980, S. 58 mit Abb. Kat. Nr. 11 ("Muschel und Fisch")
In diesem bedeutsamen Frühwerk Ernst Wilhelm Nays erscheint eine Form künstlerischer Erkenntnis, die noch vor dem großen Erlebnis der norwegischen Lofoten-Landschaft zu einem relativ klaren Ausdruck geriet. Es ist eine vorläufige wie hochinteressante Stufe bezogen auf die weitere Werkentwicklung. Elisabeth Nay-Scheibler hatte schlicht wie treffend von dem „geheimnisvoll-intuitiven Prozeß seines malerischen Schaffens“ gesprochen (vgl. E.W. Nay, Lesebuch, Selbstzeugnisse und Schriften 1931-1968, Köln 2002, Einführung, S. 6). Man erkennt in der vorliegenden Komposition zweifellos Elemente erotischer Symbolik, die vordergründig wie surrealistisch inszeniert erscheinen. Doch verweist die hier gewonnene zweigeteilte Bildformel vielmehr in nuce auf das Problem von Form und Ausdruck, um das Nay als Mensch wie als Künstler rang. Dieser innere Kampf war eine Suche nach den ursprünglichen Quellen, den Urgründen des Lebens wie des künstlerischen Schaffens:
„Die Idee, die meiner Kunst zugrunde liegt, ist zugleich meine Mitte, mein Lebensgesetz überhaupt: die mythische Gebundenheit, über die ich mich vor nunmehr sieben Jahren zum ersten Mal aussprach. Es ist darunter die urtümliche Bindung des Menschen an Erde und Himmel zu verstehen, Erde wie Himmel sind Formen der ewigen Bewegung, des Werdens und Vergehens der Ewigkeit. Dies ist ja kein Programm, keine Theorie oder ein religiöser Einfall, eher eine Vision. Über die romantische Ichbezogenheit, über die religiöse Esbezogenheit der Mystik hinaus eröffnet sich der mythische Bezirk, in dem das Urlebensgesetz in heller, kühler Klarheit Wirklichkeit ist. Diese Wirklichkeit ist der Sinn meiner Gestaltung.“ (E.W. Nay an Carl Hagemann 1937, in: E.W. Nay, Lesebuch, op. cit. S. 16).
Ernst Wilhelm Nay
Fisch und Muschel
Oil on canvas 59.4 x 47.5 cm Framed. Signed and dated 'E.W.Nay 1932' in black lower left. - Partially with early-stage shrinkage cracks and fine craquelure. Minor retouches particularly to canvas edges.
Scheibler vol. I 122
Provenance
Uli Nimptsch, London (1897-1977, sculptor); Klaus Bingemer, Cologne, estate; in family possession since
Literature
Werner Haftmann, E. W. Nay, Cologne 1960, p. 46 with illus. plate 4; Werner Haftmann, E.W. Nay, Cologne 1991 (expanded new edition), p. 50 with colour illus. p. 51; Ernst Wilhelm Nay, Regesten zu Leben und Werk, in: Ernst Wilhelm Nay - Bilder und Dokumente, Munich 1980, p. 58 with illus. cat. no. 11 ("Muschel und Fisch")
In this important early work by Ernst Wilhelm Nay, a form of artistic insight appears which arrives at a relatively clear expression - even before his key experience of the landscape of Norway's Lofoten islands. It occupies a preliminary and highly interesting stage on the way to his further development. Elisabeth Nay-Scheibler has spoken simply and aptly of the “mysterious and intuitive process of his work as a painter” (see E.W. Nay, Lesebuch, Selbstzeugnisse und Schriften 1931-1968, Cologne 2002, Einführung, p. 6). In the present composition, we undoubtedly recognise elements of erotic symbolism that superficially appear to be presented in a Surrealist manner. However, the bisected pictorial formula achieved here actually points concisely to the problem of form and expression with which Nay wrestled as an individual and artist. This inner struggle was a search for the original sources, the primal foundations of life as well as of the artist's work:
“The idea on which my art is founded is simultaneously my core, the law of my life as a whole: the mythical bond which I spoke about for the first time what is now seven years ago. This is to be understood as humanity's primeval bond with the earth and sky; earth and sky are forms of the eternal movement, the becoming and declining of eternity. This is, after all, not a programme, not a theory or a religious notion, more a vision. Beyond the Romantic connection to the ego, beyond mysticism's religious connection to the id, the mythical realm opens up - where the primal law of life is reality in a bright, cool clarity. This reality is the significance of my creation of form.” (E.W. Nay to Carl Hagemann, 1937, in: E.W. Nay, Lesebuch, op. cit., p. 16).
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