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العودة

إميل نولد   (1867-1956)

الفنان بيو الاستفسارحميل PDF
 
Trained as a woodcarver, Emil Nolde was almost 30 years old before he made his first paintings. The early paintings resembled his drawings and woodcuts: grotesque figures with bold lines and strong contrasts. The style was new, and it inspired the nascent movement Die Brücke (The Bridge), whose members invited Nolde to join them in 1906. But, it was not until the garden became his locus operandi by 1915 that he built upon his mastery of contrasting luminosities to focus on color as the supreme means of expression. Later, Nolde claimed “color is strength, strength is life,” and he could not have better characterized why his flower paintings reinvigorate our perception of color.<br><br>Much of the strength of Nolde’s dramatic, Wagnerian-like color sensibilities is the effect of staging primary colors, such as the deep reds and golden yellows of Sonnenblumen, Abend II, against a somber palette. The contrast highlights and deepens the luminosity of the flowers, not just visually, but emotionally as well. In 1937, when Nolde’s art was rejected, confiscated, and defiled, his paintings were paraded as “degenerate art” throughout Nazi Germany in dimly lit galleries. Despite that treatment, Nolde’s status as a degenerate artist gave his art more breathing space because he seized the opportunity to produce more than 1,300 watercolors, which he called “unpainted pictures.” No novice in handling watercolor, his free-flowing style of painting had been a hallmark of his highly-charge, transparent washes since 1918. Sonnenblumen, Abend II, painted in 1944, is a rare wartime oil. He let his imagination run wild with this work, and his utilization of wet-on-wet techniques heightened the drama of each petal.<br><br>Nolde’s intense preoccupation with color and flowers, particularly sunflowers, reflects his continuing devotion to van Gogh. He was aware of van Gogh as early as 1899 and, during the 1920s and early 1930s, visited several exhibitions of the Dutch artist’s work. They shared a profound love of nature. Nolde’s dedication to expression and the symbolic use of color found fullness in the sunflower subject, and it became a personal symbol for him, as it did for Van Gogh. Trained as a woodcarver, Emil Nolde was almost 30 years old before he made his first paintings. The early paintings resembled his drawings and woodcuts: grotesque figures with bold lines and strong contrasts. The style was new, and it inspired the nascent movement Die Brücke (The Bridge), whose members invited Nolde to join them in 1906. But, it was not until the garden became his locus operandi by 1915 that he built upon his mastery of contrasting luminosities to focus on color as the supreme means of expression. Later, Nolde claimed “color is strength, strength is life,” and he could not have better characterized why his flower paintings reinvigorate our perception of color.<br><br>Much of the strength of Nolde’s dramatic, Wagnerian-like color sensibilities is the effect of staging primary colors, such as the deep reds and golden yellows of Sonnenblumen, Abend II, against a somber palette. The contrast highlights and deepens the luminosity of the flowers, not just visually, but emotionally as well. In 1937, when Nolde’s art was rejected, confiscated, and defiled, his paintings were paraded as “degenerate art” throughout Nazi Germany in dimly lit galleries. Despite that treatment, Nolde’s status as a degenerate artist gave his art more breathing space because he seized the opportunity to produce more than 1,300 watercolors, which he called “unpainted pictures.” No novice in handling watercolor, his free-flowing style of painting had been a hallmark of his highly-charge, transparent washes since 1918. Sonnenblumen, Abend II, painted in 1944, is a rare wartime oil. He let his imagination run wild with this work, and his utilization of wet-on-wet techniques heightened the drama of each petal.<br><br>Nolde’s intense preoccupation with color and flowers, particularly sunflowers, reflects his continuing devotion to van Gogh. He was aware of van Gogh as early as 1899 and, during the 1920s and early 1930s, visited several exhibitions of the Dutch artist’s work. They shared a profound love of nature. Nolde’s dedication to expression and the symbolic use of color found fullness in the sunflower subject, and it became a personal symbol for him, as it did for Van Gogh. Trained as a woodcarver, Emil Nolde was almost 30 years old before he made his first paintings. The early paintings resembled his drawings and woodcuts: grotesque figures with bold lines and strong contrasts. The style was new, and it inspired the nascent movement Die Brücke (The Bridge), whose members invited Nolde to join them in 1906. But, it was not until the garden became his locus operandi by 1915 that he built upon his mastery of contrasting luminosities to focus on color as the supreme means of expression. Later, Nolde claimed “color is strength, strength is life,” and he could not have better characterized why his flower paintings reinvigorate our perception of color.<br><br>Much of the strength of Nolde’s dramatic, Wagnerian-like color sensibilities is the effect of staging primary colors, such as the deep reds and golden yellows of Sonnenblumen, Abend II, against a somber palette. The contrast highlights and deepens the luminosity of the flowers, not just visually, but emotionally as well. In 1937, when Nolde’s art was rejected, confiscated, and defiled, his paintings were paraded as “degenerate art” throughout Nazi Germany in dimly lit galleries. Despite that treatment, Nolde’s status as a degenerate artist gave his art more breathing space because he seized the opportunity to produce more than 1,300 watercolors, which he called “unpainted pictures.” No novice in handling watercolor, his free-flowing style of painting had been a hallmark of his highly-charge, transparent washes since 1918. Sonnenblumen, Abend II, painted in 1944, is a rare wartime oil. He let his imagination run wild with this work, and his utilization of wet-on-wet techniques heightened the drama of each petal.<br><br>Nolde’s intense preoccupation with color and flowers, particularly sunflowers, reflects his continuing devotion to van Gogh. He was aware of van Gogh as early as 1899 and, during the 1920s and early 1930s, visited several exhibitions of the Dutch artist’s work. They shared a profound love of nature. Nolde’s dedication to expression and the symbolic use of color found fullness in the sunflower subject, and it became a personal symbol for him, as it did for Van Gogh. Trained as a woodcarver, Emil Nolde was almost 30 years old before he made his first paintings. The early paintings resembled his drawings and woodcuts: grotesque figures with bold lines and strong contrasts. The style was new, and it inspired the nascent movement Die Brücke (The Bridge), whose members invited Nolde to join them in 1906. But, it was not until the garden became his locus operandi by 1915 that he built upon his mastery of contrasting luminosities to focus on color as the supreme means of expression. Later, Nolde claimed “color is strength, strength is life,” and he could not have better characterized why his flower paintings reinvigorate our perception of color.<br><br>Much of the strength of Nolde’s dramatic, Wagnerian-like color sensibilities is the effect of staging primary colors, such as the deep reds and golden yellows of Sonnenblumen, Abend II, against a somber palette. The contrast highlights and deepens the luminosity of the flowers, not just visually, but emotionally as well. In 1937, when Nolde’s art was rejected, confiscated, and defiled, his paintings were paraded as “degenerate art” throughout Nazi Germany in dimly lit galleries. Despite that treatment, Nolde’s status as a degenerate artist gave his art more breathing space because he seized the opportunity to produce more than 1,300 watercolors, which he called “unpainted pictures.” No novice in handling watercolor, his free-flowing style of painting had been a hallmark of his highly-charge, transparent washes since 1918. Sonnenblumen, Abend II, painted in 1944, is a rare wartime oil. He let his imagination run wild with this work, and his utilization of wet-on-wet techniques heightened the drama of each petal.<br><br>Nolde’s intense preoccupation with color and flowers, particularly sunflowers, reflects his continuing devotion to van Gogh. He was aware of van Gogh as early as 1899 and, during the 1920s and early 1930s, visited several exhibitions of the Dutch artist’s work. They shared a profound love of nature. Nolde’s dedication to expression and the symbolic use of color found fullness in the sunflower subject, and it became a personal symbol for him, as it did for Van Gogh. Trained as a woodcarver, Emil Nolde was almost 30 years old before he made his first paintings. The early paintings resembled his drawings and woodcuts: grotesque figures with bold lines and strong contrasts. The style was new, and it inspired the nascent movement Die Brücke (The Bridge), whose members invited Nolde to join them in 1906. But, it was not until the garden became his locus operandi by 1915 that he built upon his mastery of contrasting luminosities to focus on color as the supreme means of expression. Later, Nolde claimed “color is strength, strength is life,” and he could not have better characterized why his flower paintings reinvigorate our perception of color.<br><br>Much of the strength of Nolde’s dramatic, Wagnerian-like color sensibilities is the effect of staging primary colors, such as the deep reds and golden yellows of Sonnenblumen, Abend II, against a somber palette. The contrast highlights and deepens the luminosity of the flowers, not just visually, but emotionally as well. In 1937, when Nolde’s art was rejected, confiscated, and defiled, his paintings were paraded as “degenerate art” throughout Nazi Germany in dimly lit galleries. Despite that treatment, Nolde’s status as a degenerate artist gave his art more breathing space because he seized the opportunity to produce more than 1,300 watercolors, which he called “unpainted pictures.” No novice in handling watercolor, his free-flowing style of painting had been a hallmark of his highly-charge, transparent washes since 1918. Sonnenblumen, Abend II, painted in 1944, is a rare wartime oil. He let his imagination run wild with this work, and his utilization of wet-on-wet techniques heightened the drama of each petal.<br><br>Nolde’s intense preoccupation with color and flowers, particularly sunflowers, reflects his continuing devotion to van Gogh. He was aware of van Gogh as early as 1899 and, during the 1920s and early 1930s, visited several exhibitions of the Dutch artist’s work. They shared a profound love of nature. Nolde’s dedication to expression and the symbolic use of color found fullness in the sunflower subject, and it became a personal symbol for him, as it did for Van Gogh. Trained as a woodcarver, Emil Nolde was almost 30 years old before he made his first paintings. The early paintings resembled his drawings and woodcuts: grotesque figures with bold lines and strong contrasts. The style was new, and it inspired the nascent movement Die Brücke (The Bridge), whose members invited Nolde to join them in 1906. But, it was not until the garden became his locus operandi by 1915 that he built upon his mastery of contrasting luminosities to focus on color as the supreme means of expression. Later, Nolde claimed “color is strength, strength is life,” and he could not have better characterized why his flower paintings reinvigorate our perception of color.<br><br>Much of the strength of Nolde’s dramatic, Wagnerian-like color sensibilities is the effect of staging primary colors, such as the deep reds and golden yellows of Sonnenblumen, Abend II, against a somber palette. The contrast highlights and deepens the luminosity of the flowers, not just visually, but emotionally as well. In 1937, when Nolde’s art was rejected, confiscated, and defiled, his paintings were paraded as “degenerate art” throughout Nazi Germany in dimly lit galleries. Despite that treatment, Nolde’s status as a degenerate artist gave his art more breathing space because he seized the opportunity to produce more than 1,300 watercolors, which he called “unpainted pictures.” No novice in handling watercolor, his free-flowing style of painting had been a hallmark of his highly-charge, transparent washes since 1918. Sonnenblumen, Abend II, painted in 1944, is a rare wartime oil. He let his imagination run wild with this work, and his utilization of wet-on-wet techniques heightened the drama of each petal.<br><br>Nolde’s intense preoccupation with color and flowers, particularly sunflowers, reflects his continuing devotion to van Gogh. He was aware of van Gogh as early as 1899 and, during the 1920s and early 1930s, visited several exhibitions of the Dutch artist’s work. They shared a profound love of nature. Nolde’s dedication to expression and the symbolic use of color found fullness in the sunflower subject, and it became a personal symbol for him, as it did for Van Gogh. Trained as a woodcarver, Emil Nolde was almost 30 years old before he made his first paintings. The early paintings resembled his drawings and woodcuts: grotesque figures with bold lines and strong contrasts. The style was new, and it inspired the nascent movement Die Brücke (The Bridge), whose members invited Nolde to join them in 1906. But, it was not until the garden became his locus operandi by 1915 that he built upon his mastery of contrasting luminosities to focus on color as the supreme means of expression. Later, Nolde claimed “color is strength, strength is life,” and he could not have better characterized why his flower paintings reinvigorate our perception of color.<br><br>Much of the strength of Nolde’s dramatic, Wagnerian-like color sensibilities is the effect of staging primary colors, such as the deep reds and golden yellows of Sonnenblumen, Abend II, against a somber palette. The contrast highlights and deepens the luminosity of the flowers, not just visually, but emotionally as well. In 1937, when Nolde’s art was rejected, confiscated, and defiled, his paintings were paraded as “degenerate art” throughout Nazi Germany in dimly lit galleries. Despite that treatment, Nolde’s status as a degenerate artist gave his art more breathing space because he seized the opportunity to produce more than 1,300 watercolors, which he called “unpainted pictures.” No novice in handling watercolor, his free-flowing style of painting had been a hallmark of his highly-charge, transparent washes since 1918. Sonnenblumen, Abend II, painted in 1944, is a rare wartime oil. He let his imagination run wild with this work, and his utilization of wet-on-wet techniques heightened the drama of each petal.<br><br>Nolde’s intense preoccupation with color and flowers, particularly sunflowers, reflects his continuing devotion to van Gogh. He was aware of van Gogh as early as 1899 and, during the 1920s and early 1930s, visited several exhibitions of the Dutch artist’s work. They shared a profound love of nature. Nolde’s dedication to expression and the symbolic use of color found fullness in the sunflower subject, and it became a personal symbol for him, as it did for Van Gogh. Trained as a woodcarver, Emil Nolde was almost 30 years old before he made his first paintings. The early paintings resembled his drawings and woodcuts: grotesque figures with bold lines and strong contrasts. The style was new, and it inspired the nascent movement Die Brücke (The Bridge), whose members invited Nolde to join them in 1906. But, it was not until the garden became his locus operandi by 1915 that he built upon his mastery of contrasting luminosities to focus on color as the supreme means of expression. Later, Nolde claimed “color is strength, strength is life,” and he could not have better characterized why his flower paintings reinvigorate our perception of color.<br><br>Much of the strength of Nolde’s dramatic, Wagnerian-like color sensibilities is the effect of staging primary colors, such as the deep reds and golden yellows of Sonnenblumen, Abend II, against a somber palette. The contrast highlights and deepens the luminosity of the flowers, not just visually, but emotionally as well. In 1937, when Nolde’s art was rejected, confiscated, and defiled, his paintings were paraded as “degenerate art” throughout Nazi Germany in dimly lit galleries. Despite that treatment, Nolde’s status as a degenerate artist gave his art more breathing space because he seized the opportunity to produce more than 1,300 watercolors, which he called “unpainted pictures.” No novice in handling watercolor, his free-flowing style of painting had been a hallmark of his highly-charge, transparent washes since 1918. Sonnenblumen, Abend II, painted in 1944, is a rare wartime oil. He let his imagination run wild with this work, and his utilization of wet-on-wet techniques heightened the drama of each petal.<br><br>Nolde’s intense preoccupation with color and flowers, particularly sunflowers, reflects his continuing devotion to van Gogh. He was aware of van Gogh as early as 1899 and, during the 1920s and early 1930s, visited several exhibitions of the Dutch artist’s work. They shared a profound love of nature. Nolde’s dedication to expression and the symbolic use of color found fullness in the sunflower subject, and it became a personal symbol for him, as it did for Van Gogh. Trained as a woodcarver, Emil Nolde was almost 30 years old before he made his first paintings. The early paintings resembled his drawings and woodcuts: grotesque figures with bold lines and strong contrasts. The style was new, and it inspired the nascent movement Die Brücke (The Bridge), whose members invited Nolde to join them in 1906. But, it was not until the garden became his locus operandi by 1915 that he built upon his mastery of contrasting luminosities to focus on color as the supreme means of expression. Later, Nolde claimed “color is strength, strength is life,” and he could not have better characterized why his flower paintings reinvigorate our perception of color.<br><br>Much of the strength of Nolde’s dramatic, Wagnerian-like color sensibilities is the effect of staging primary colors, such as the deep reds and golden yellows of Sonnenblumen, Abend II, against a somber palette. The contrast highlights and deepens the luminosity of the flowers, not just visually, but emotionally as well. In 1937, when Nolde’s art was rejected, confiscated, and defiled, his paintings were paraded as “degenerate art” throughout Nazi Germany in dimly lit galleries. Despite that treatment, Nolde’s status as a degenerate artist gave his art more breathing space because he seized the opportunity to produce more than 1,300 watercolors, which he called “unpainted pictures.” No novice in handling watercolor, his free-flowing style of painting had been a hallmark of his highly-charge, transparent washes since 1918. Sonnenblumen, Abend II, painted in 1944, is a rare wartime oil. He let his imagination run wild with this work, and his utilization of wet-on-wet techniques heightened the drama of each petal.<br><br>Nolde’s intense preoccupation with color and flowers, particularly sunflowers, reflects his continuing devotion to van Gogh. He was aware of van Gogh as early as 1899 and, during the 1920s and early 1930s, visited several exhibitions of the Dutch artist’s work. They shared a profound love of nature. Nolde’s dedication to expression and the symbolic use of color found fullness in the sunflower subject, and it became a personal symbol for him, as it did for Van Gogh. Trained as a woodcarver, Emil Nolde was almost 30 years old before he made his first paintings. The early paintings resembled his drawings and woodcuts: grotesque figures with bold lines and strong contrasts. The style was new, and it inspired the nascent movement Die Brücke (The Bridge), whose members invited Nolde to join them in 1906. But, it was not until the garden became his locus operandi by 1915 that he built upon his mastery of contrasting luminosities to focus on color as the supreme means of expression. Later, Nolde claimed “color is strength, strength is life,” and he could not have better characterized why his flower paintings reinvigorate our perception of color.<br><br>Much of the strength of Nolde’s dramatic, Wagnerian-like color sensibilities is the effect of staging primary colors, such as the deep reds and golden yellows of Sonnenblumen, Abend II, against a somber palette. The contrast highlights and deepens the luminosity of the flowers, not just visually, but emotionally as well. In 1937, when Nolde’s art was rejected, confiscated, and defiled, his paintings were paraded as “degenerate art” throughout Nazi Germany in dimly lit galleries. Despite that treatment, Nolde’s status as a degenerate artist gave his art more breathing space because he seized the opportunity to produce more than 1,300 watercolors, which he called “unpainted pictures.” No novice in handling watercolor, his free-flowing style of painting had been a hallmark of his highly-charge, transparent washes since 1918. Sonnenblumen, Abend II, painted in 1944, is a rare wartime oil. He let his imagination run wild with this work, and his utilization of wet-on-wet techniques heightened the drama of each petal.<br><br>Nolde’s intense preoccupation with color and flowers, particularly sunflowers, reflects his continuing devotion to van Gogh. He was aware of van Gogh as early as 1899 and, during the 1920s and early 1930s, visited several exhibitions of the Dutch artist’s work. They shared a profound love of nature. Nolde’s dedication to expression and the symbolic use of color found fullness in the sunflower subject, and it became a personal symbol for him, as it did for Van Gogh.
Sonnenblumen, Abend II194426 1/2 x 35 3/8 in. (67.31 × 89.85 سم) زيت على قماش
الاصل
يواكيم فون ليبل، نيوكيرشن، 1958
مجموعة خاصة، ألمانيا
سوذبيز نيويورك، الانطباعية والفن الحديث مساء البيع: الثلاثاء, نوفمبر 2, 2010, Lot 00021
مجموعة خاصة، نيويورك
الادب
مارتن أوربان ، إميل نولد ، كتالوج Raisonné من اللوحات الزيتية ، المجلد. () المرجعان الثانيان، 1915-1951، لندن، 1990، العدد 1250، الصفحة 511 من النص الانكليزي.
العودة
الاستفسار

"الصور هي كائنات روحية. روح الرسام تعيش في داخلهم." - إميل نولد

التاريخ

تدرب إميل نولدي كنجار خشب ، وكان عمره 30 عاما تقريبا قبل أن يصنع لوحاته الأولى. تشبه اللوحات المبكرة رسوماته ونقوشه الخشبية: شخصيات بشعة ذات خطوط جريئة وتناقضات قوية. كان الأسلوب جديدا ، وألهم الحركة الوليدة Die Brücke (الجسر) ، التي دعا أعضاؤها نولد للانضمام إليهم في عام 1906.  ولكن ، لم يكن حتى أصبحت الحديقة موضع عمله بحلول عام 1915 أنه بنى على إتقانه لللمعان المتناقض للتركيز على اللون كوسيلة عليا للتعبير.  في وقت لاحق ، ادعى نولدي أن "اللون هو القوة ، والقوة هي الحياة" ، ولم يكن بإمكانه أن يصف بشكل أفضل لماذا تعيد لوحاته الزهرية تنشيط إدراكنا للون.

الكثير من قوة حساسيات نولد اللونية الدراماتيكية الشبيهة بفاغنريان هي تأثير تنظيم الألوان الأساسية ، مثل الأحمر الداكن والأصفر الذهبي ل Sonnenblumen ، Abend II ، ضد لوحة كئيبة. يسلط التباين الضوء على لمعان الزهور ويعمقه ، ليس فقط بصريا ، ولكن عاطفيا أيضا. في عام 1937 ، عندما تم رفض فن نولد ومصادرته وتدنيسه ، تم عرض لوحاته على أنها "فن منحط" في جميع أنحاء ألمانيا النازية في صالات عرض ذات إضاءة خافتة. وعلى الرغم من هذه المعاملة، فإن وضع نولدي كفنان منحط أعطى فنه مساحة أكبر لالتقاط الأنفاس لأنه انتهز الفرصة لإنتاج أكثر من 1300 لوحة مائية، والتي أطلق عليها اسم "الصور غير المطلية". لم يكن مبتدئا في التعامل مع الألوان المائية ، فقد كان أسلوبه في الرسم المتدفق بحرية سمة مميزة لغسالاته الشفافة عالية الشحن منذ عام 1918. Sonnenblumen ، Abend II ، رسمت في عام 1944 ، هو زيت نادر في زمن الحرب. لقد أطلق العنان لخياله مع هذا العمل ، وزاد استخدامه لتقنيات الرطب على الرطب من دراما كل بتلة.

يعكس انشغال نولد الشديد بالألوان والزهور ، وخاصة عباد الشمس ، تفانيه المستمر لفان جوخ.  كان على دراية بفان جوخ في وقت مبكر من عام 1899 ، وخلال 1920s وأوائل 1930s ، زار العديد من المعارض لأعمال الفنان الهولندي.  كانوا يشتركون في حب عميق للطبيعة. وجد تفاني نولد في التعبير والاستخدام الرمزي للون امتلاء في موضوع عباد الشمس ، وأصبح رمزا شخصيا له ، كما فعل مع فان جوخ.

الاستفسار
"اللون هو القوة ، والقوة هي الحياة." - إميل نولد

رؤى السوق

  • NoldeAMR
  • نادرا ما تتوفر لوحات عباد الشمس المحققة بالكامل ، ومعظم أعمال هذا الموضوع موجودة في مؤسسات المتاحف.  
  • عندما طرحت لوحات الزهور في مزاد علني ، كانت من بين بعض أعمال نولد الأكثر مبيعا.
  • كما يوضح الرسم البياني من Art Market Research ، فقد ارتفع سوق إميل نولد بنسبة 648.1٪ منذ عام 1976.
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زيت على قماش، 29 × 39 13/4 بوصة. يباع في سوذبيز، نيويورك: نوفمبر 2009.

تم بيع "Üppiger Garten" (1945) مقابل 2,658,500 دولار.

زيت على قماش، 29 × 39 13/4 بوصة. يباع في سوذبيز، نيويورك: نوفمبر 2009.
  • رسمت بعد عام واحد من سونينبلومن، أبيند الثاني
  • أكبر قليلا من سونينبلومن، أبيند الثاني
  • على الرغم من أنه ليس تصويرا لعباد الشمس ، إلا أن Üppiger Garten هو منظر طبيعي زهري مماثل مقصوص بإحكام
زيت على قماش، 26 3/4 × 34 7/8 بوصة. يباع في سوذبيز، لندن: يونيو 2012.

تم بيع "Grosse Sonnenblume und Clematis" (1943) مقابل 2,179,094 دولارا.

زيت على قماش، 26 3/4 × 34 7/8 بوصة. يباع في سوذبيز، لندن: يونيو 2012.
  • رسمت قبل عام واحد من سونينبلومين ، Abend II
  • أصغر قليلا من سونينبلومن، أبيند الثاني
  • نفس موضوع عباد الشمس

لوحات في مجموعات المتحف

"عباد الشمس المتوهج" (1936) ، زيت على قماش ، 35 × 26 1/2 بوصة.

المتحف الوطني تيسن-بورنيميسزا

"عباد الشمس المتوهج" (1936) ، زيت على قماش ، 35 × 26 1/2 بوصة.
"عباد الشمس الكبير" (1928) ، زيت على قماش ، 29 × 35 بوصة.

متحف المتروبوليتان للفنون، نيويورك

"عباد الشمس الكبير" (1928) ، زيت على قماش ، 29 × 35 بوصة.
"عباد الشمس" (1932) ، زيت على قماش ، 29 × 35 بوصة.

معهد ديترويت للفنون

"عباد الشمس" (1932) ، زيت على قماش ، 29 × 35 بوصة.
"عباد الشمس" (حوالي 1930)، ألوان مائية على ورق، 9 × 11 بوصة.

متحف جامعة برينستون للفنون ، نيو جيرسي

"عباد الشمس" (حوالي 1930)، ألوان مائية على ورق، 9 × 11 بوصة.
"Herbstblumengarten" (1934) ، زيت على قماش ، 28 3/4 × 34 5/8 بوصة.

متحف ألبرتينا، فيينا، النمسا

"Herbstblumengarten" (1934) ، زيت على قماش ، 28 3/4 × 34 5/8 بوصة.
"عباد الشمس، دالياس الوردي والأبيض، ودلفينيوم أزرق" (حوالي 1930/1940)، ألوان مائية (طبق ريكتو وفيرسو) على ورق ياباني، 18 5/8 × 14 بوصة.

المعرض الوطني للفنون ، واشنطن العاصمة .C.

"عباد الشمس، دالياس الوردي والأبيض، ودلفينيوم أزرق" (حوالي 1930/1940)، ألوان مائية (طبق ريكتو وفيرسو) على ورق ياباني، 18 5/8 × 14 بوصة.
"الأصفر يمكن أن يعبر عن السعادة ، ثم مرة أخرى ، الألم. هناك لهب أحمر ، أحمر دم ، وأحمر وردي. هناك الأزرق الفضي ، السماء الزرقاء ، والأزرق الرعد. كل لون يضمر روحه الخاصة ، مما يسعدني أو يثير اشمئزازي أو يحفزني. "- إميل نولد

المصادقه

مارتن أوربان ، إميل نولد ، كتالوج Raisonné من اللوحات الزيتية ، المجلد. () المرجعان الثانيان، 1915-1951، لندن، 1990، العدد 1250، الصفحة 511 من النص الانكليزي.

مارتن أوربان ، إميل نولد ، كتالوج Raisonné من اللوحات الزيتية ، المجلد. () المرجعان الثانيان، 1915-1951، لندن، 1990، العدد 1250، الصفحة 511 من النص الانكليزي.

معرض الصور

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موارد إضافية

اقرأ عن معرض 2019 لأعمال نولده في متحف Staatliche ، برلين.

إميل نولد. أسطورة ألمانية. الفنان خلال النظام النازي

اقرأ عن معرض 2019 لأعمال نولده في متحف Staatliche ، برلين.
شاهد لوحات عباد الشمس المماثلة المدرجة في أول معرض استعادي رئيسي لأعمال نولد التي عرضت في عام 1963 في MOMA ، نيويورك.

1963 MOMA بأثر رجعي

شاهد لوحات عباد الشمس المماثلة المدرجة في أول معرض استعادي رئيسي لأعمال نولد التي عرضت في عام 1963 في MOMA ، نيويورك.
شاهد هذا الفيديو الذي رافق معرض متحف Stedelijk لعام 2021 "Kirchner and Nolde: Expressionism. الاستعمار".

كيرشنر ونولد: التعبيرية. الاستعمار

شاهد هذا الفيديو الذي رافق معرض متحف Stedelijk لعام 2021 "Kirchner and Nolde: Expressionism. الاستعمار".

الاستفسار

الاستعلام - الفن واحد

قد تحب أيضا

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