82
Emil NoldePflanze mit ReitertonfigurAquarell auf Japanpapier 27 x 45,2 cm Unter Glas gerahmt.
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Beschreibung
Emil Nolde
Pflanze mit Reitertonfigur
Aquarell auf Japanpapier 27 x 45,2 cm Unter Glas gerahmt. Unten rechts mit grauem Pinsel signiert 'Nolde.'. - In farbfrischer Erhaltung.
Zu diesem Werk kann eine Foto-Expertise von Manfred Reuther, Risum-Lindholm, erteilt werden.
Provenienz
Ehemals Sammlung Richard König, Duisburg; seitdem Familienbesitz, Rheinland
Literatur
Karsten Müller (Hg.), Emil Nolde. Puppen, Masken und Idole, Katalogbuch zur Ausstellung im Ernst Barlach Haus, Stiftung Hermann F. Reemtsma, Hamburg/ Stiftung Ahlers Pro Arte/Kestner Pro Arte, Hannover/ Nolde Stiftung Seebüll, Dependance, Berlin, 2012/2013, vgl. S. 74 mit Farbabb. der Reitertonfigur aus der Sammlung des Künstlers
Die künstlerischen Avantgarden des frühen 20. Jahrhunderts hatten mit wachem Auge nicht nur die Kunst und Kultur fremder Völker und Ethnien entdeckt, sondern in ihrer Haltung dazu auch eine selbstbewusste revolutionäre Geste entworfen, die alle bislang tradierten Formen und Ideale, die das europäische Bildungsbürgertum und die Gesellschaft prägten und die sakrosankt erschienen, in Frage stellte. Emil Noldes erweitertes Interesse für urtümliche, ferne wie exotisch anmutende künstlerische Artefakte, die er in den Berliner Museen zeichnerisch sich erarbeitete und später auch persönlich sammeln sollte, war schon vor 1900 geweckt worden:
"Als etwas Besonderes, wie eine Mystik, stand vor mir die Kunst der Ägypter und Assyrer. Ich konnte sie nicht, wie damals fast allgemein, als 'geschichtliche' Objekte nur werten, ich liebte diese großen Werke, wenn auch es war, als ob ich es nicht dürfte. Aber solche Liebe manchmal brennt am glühendsten. - Das folgende Jahrzehnt brachte Einsicht und Befreiung; ich lernte die indische, chinesische, die persische Kunst kennen, die primitiven seltsamen Erzeugnisse der Mexikaner und die der Urvölker. Diese waren mir nicht nur 'Kuriositäten', wie die Zünftigen sie benannten, nein, wir erhoben sie zu dem, was sie sind: die seltsame, herbe Volks- und Urkunst der Naturvölker." (Emil Nolde, zit. nach: Karsten Müller, op. cit., S. 66).
Die 1913/1914 durch den Ausbruch des I. Weltkrieges unterbrochene Reise von Ada und Emil Nolde als Teilnehmer der "Medizinisch-demographischen Deutsch-Neuguinea-Expedition" vertiefte bekanntlich nachhaltig die schon früher gewonnenen Eindrücke und die damals durchaus kritischen Überzeugungen des Künstlers. Nolde begann fremde Objekte der Weltkunst in seiner Malerei dezidiert und nachhaltig herauszustellen und auf seine Weise zum Leben zu erwecken. Die Interpretation erfolgte nicht durch Überformung, Neuausprägung und Stilwandel sondern durch Aneignung und Integration in die eigenen Bildwelten. Er pflegte dann in seinen Kompositionen sehr gerne einen frontalen, dualen Aufbau, wie auch in diesem Aquarell, wo er eine kleine archaische Reiterfigur aus Ton (wahrscheinlich zypriotisch, aus dem 1. Jahrtausend v. Ch. und aus seiner Sammlung) einer tropisch blühenden Pflanze zugesellt. Die auf diese Weise subtil erzielte Belebung und gegenseitige Steigerung der Bildgegenstände, deren Charakter unverfälscht und direkt wiedergegeben wird, erfolgt auf einer rein künstlerisch empfundenen Ebene, die Heterogenes harmonisch zusammenzuziehen versteht. Und dies geschah in Noldes Oeuvre in immer neuen Bildvarianten und auf eine formal interessante wie expressive Weise.
Emil Nolde
Pflanze mit Reitertonfigur
Watercolour on Japan paper 27 x 45.2 cm Framed under glass. Signed 'Nolde.' in grey brush lower right. - In fine condition with vibrant colours.
For this work a photo-certificate by Manfred Reuther, Risum-Lindholm, can be given.
Provenance
Formerly Collection Richard König, Duisburg; family possession, Rhineland, since
Literature
Karsten Müller (ed.), Emil Nolde. Puppen, Masken und Idole, Katalogbuch zur Ausstellung im Ernst Barlach Haus, Stiftung Hermann F. Reemtsma, Hamburg/ Stiftung Ahlers Pro Arte/Kestner Pro Arte, Hanover/ Nolde Stiftung Seebüll, Dependance, Berlin, 2012/2013, cf. p. 74 with colour illus. of the clay equestrian figure from the artist's collection
The watchful eye of the artistic avant-gardes of the early 20th century not only discovered the art and culture of unfamiliar peoples and ethnic groups, but also developed a self-assured revolutionary gesture in their attitude towards them, calling into question all the previously established forms and ideals which had shaped and appeared sacred to the society of the educated European bourgeoisie. Emil Nolde's expanded interest in artefacts that seemed primitive, far-off and exotic - which he had developed by drawing in Berlin's museums and would later also collect personally - had already been stirred before 1900:
“The art of the Egyptians and Assyrians stood before me as something exceptional, like a mysticism. I could not evaluate them solely as 'historical' objects, as was almost universally done at that time: I loved these great works, even if it seemed as if I was not allowed. But sometimes a love like this burns the hottest. - The following decade brought insight and liberation; I became familiar with Indian, Chinese and Persian art, the primitive and strange products of the Mexicans and indigenous peoples. For me these were not just 'curiosities', as the experts called them. No, we elevated them to the level of that which they are: the strange, austere folk and primal art of primitive peoples.” (Emil Nolde, cited in: Karsten Müller, op. cit., p. 66).
Ada and Emil Nolde's 1913/1914 journey as part of the “medical-demographic German-New-Guinea expedition”, which was interrupted by the outbreak of World War I, is well known to have lastingly deepened the impressions the artist had already gathered earlier as well as his convictions, which were thoroughly critical at that time. Nolde began to decisively and sustainedly emphasise alien objects of world art in his painting and bring them to life in his own way. His interpretation was carried out not through reshaping, remoulding and stylistic transformation but through assimilation and integration into his own pictorial worlds. He then very much liked to maintain a frontal, dual structure in his compositions, as is also the case in this watercolour, where he has placed a small, archaic figure of a rider made out of clay (probably Cypriot, from the first millennium before Christ and from his collection) next to a tropically blooming plant. In this way he has achieved a subtle animation and mutual intensification of the depicted objects, whose character is recorded in an unadulterated and direct manner, on a level experienced in purely artistic terms and capable of harmoniously bringing together heterogeneous elements. And this took place in ever new pictorial variations in Nolde's oeuvre and in a formally interesting as well as expressive manner.
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Emil Nolde
Pflanze mit Reitertonfigur
Aquarell auf Japanpapier 27 x 45,2 cm Unter Glas gerahmt. Unten rechts mit grauem Pinsel signiert 'Nolde.'. - In farbfrischer Erhaltung.
Zu diesem Werk kann eine Foto-Expertise von Manfred Reuther, Risum-Lindholm, erteilt werden.
Provenienz
Ehemals Sammlung Richard König, Duisburg; seitdem Familienbesitz, Rheinland
Literatur
Karsten Müller (Hg.), Emil Nolde. Puppen, Masken und Idole, Katalogbuch zur Ausstellung im Ernst Barlach Haus, Stiftung Hermann F. Reemtsma, Hamburg/ Stiftung Ahlers Pro Arte/Kestner Pro Arte, Hannover/ Nolde Stiftung Seebüll, Dependance, Berlin, 2012/2013, vgl. S. 74 mit Farbabb. der Reitertonfigur aus der Sammlung des Künstlers
Die künstlerischen Avantgarden des frühen 20. Jahrhunderts hatten mit wachem Auge nicht nur die Kunst und Kultur fremder Völker und Ethnien entdeckt, sondern in ihrer Haltung dazu auch eine selbstbewusste revolutionäre Geste entworfen, die alle bislang tradierten Formen und Ideale, die das europäische Bildungsbürgertum und die Gesellschaft prägten und die sakrosankt erschienen, in Frage stellte. Emil Noldes erweitertes Interesse für urtümliche, ferne wie exotisch anmutende künstlerische Artefakte, die er in den Berliner Museen zeichnerisch sich erarbeitete und später auch persönlich sammeln sollte, war schon vor 1900 geweckt worden:
"Als etwas Besonderes, wie eine Mystik, stand vor mir die Kunst der Ägypter und Assyrer. Ich konnte sie nicht, wie damals fast allgemein, als 'geschichtliche' Objekte nur werten, ich liebte diese großen Werke, wenn auch es war, als ob ich es nicht dürfte. Aber solche Liebe manchmal brennt am glühendsten. - Das folgende Jahrzehnt brachte Einsicht und Befreiung; ich lernte die indische, chinesische, die persische Kunst kennen, die primitiven seltsamen Erzeugnisse der Mexikaner und die der Urvölker. Diese waren mir nicht nur 'Kuriositäten', wie die Zünftigen sie benannten, nein, wir erhoben sie zu dem, was sie sind: die seltsame, herbe Volks- und Urkunst der Naturvölker." (Emil Nolde, zit. nach: Karsten Müller, op. cit., S. 66).
Die 1913/1914 durch den Ausbruch des I. Weltkrieges unterbrochene Reise von Ada und Emil Nolde als Teilnehmer der "Medizinisch-demographischen Deutsch-Neuguinea-Expedition" vertiefte bekanntlich nachhaltig die schon früher gewonnenen Eindrücke und die damals durchaus kritischen Überzeugungen des Künstlers. Nolde begann fremde Objekte der Weltkunst in seiner Malerei dezidiert und nachhaltig herauszustellen und auf seine Weise zum Leben zu erwecken. Die Interpretation erfolgte nicht durch Überformung, Neuausprägung und Stilwandel sondern durch Aneignung und Integration in die eigenen Bildwelten. Er pflegte dann in seinen Kompositionen sehr gerne einen frontalen, dualen Aufbau, wie auch in diesem Aquarell, wo er eine kleine archaische Reiterfigur aus Ton (wahrscheinlich zypriotisch, aus dem 1. Jahrtausend v. Ch. und aus seiner Sammlung) einer tropisch blühenden Pflanze zugesellt. Die auf diese Weise subtil erzielte Belebung und gegenseitige Steigerung der Bildgegenstände, deren Charakter unverfälscht und direkt wiedergegeben wird, erfolgt auf einer rein künstlerisch empfundenen Ebene, die Heterogenes harmonisch zusammenzuziehen versteht. Und dies geschah in Noldes Oeuvre in immer neuen Bildvarianten und auf eine formal interessante wie expressive Weise.
Emil Nolde
Pflanze mit Reitertonfigur
Watercolour on Japan paper 27 x 45.2 cm Framed under glass. Signed 'Nolde.' in grey brush lower right. - In fine condition with vibrant colours.
For this work a photo-certificate by Manfred Reuther, Risum-Lindholm, can be given.
Provenance
Formerly Collection Richard König, Duisburg; family possession, Rhineland, since
Literature
Karsten Müller (ed.), Emil Nolde. Puppen, Masken und Idole, Katalogbuch zur Ausstellung im Ernst Barlach Haus, Stiftung Hermann F. Reemtsma, Hamburg/ Stiftung Ahlers Pro Arte/Kestner Pro Arte, Hanover/ Nolde Stiftung Seebüll, Dependance, Berlin, 2012/2013, cf. p. 74 with colour illus. of the clay equestrian figure from the artist's collection
The watchful eye of the artistic avant-gardes of the early 20th century not only discovered the art and culture of unfamiliar peoples and ethnic groups, but also developed a self-assured revolutionary gesture in their attitude towards them, calling into question all the previously established forms and ideals which had shaped and appeared sacred to the society of the educated European bourgeoisie. Emil Nolde's expanded interest in artefacts that seemed primitive, far-off and exotic - which he had developed by drawing in Berlin's museums and would later also collect personally - had already been stirred before 1900:
“The art of the Egyptians and Assyrians stood before me as something exceptional, like a mysticism. I could not evaluate them solely as 'historical' objects, as was almost universally done at that time: I loved these great works, even if it seemed as if I was not allowed. But sometimes a love like this burns the hottest. - The following decade brought insight and liberation; I became familiar with Indian, Chinese and Persian art, the primitive and strange products of the Mexicans and indigenous peoples. For me these were not just 'curiosities', as the experts called them. No, we elevated them to the level of that which they are: the strange, austere folk and primal art of primitive peoples.” (Emil Nolde, cited in: Karsten Müller, op. cit., p. 66).
Ada and Emil Nolde's 1913/1914 journey as part of the “medical-demographic German-New-Guinea expedition”, which was interrupted by the outbreak of World War I, is well known to have lastingly deepened the impressions the artist had already gathered earlier as well as his convictions, which were thoroughly critical at that time. Nolde began to decisively and sustainedly emphasise alien objects of world art in his painting and bring them to life in his own way. His interpretation was carried out not through reshaping, remoulding and stylistic transformation but through assimilation and integration into his own pictorial worlds. He then very much liked to maintain a frontal, dual structure in his compositions, as is also the case in this watercolour, where he has placed a small, archaic figure of a rider made out of clay (probably Cypriot, from the first millennium before Christ and from his collection) next to a tropically blooming plant. In this way he has achieved a subtle animation and mutual intensification of the depicted objects, whose character is recorded in an unadulterated and direct manner, on a level experienced in purely artistic terms and capable of harmoniously bringing together heterogeneous elements. And this took place in ever new pictorial variations in Nolde's oeuvre and in a formally interesting as well as expressive manner.
Moderne und Zeitgenössische Kunst - Evening Sale
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Takuro Ito, Kilian Jay von Seldeneck, auctioneers
