גב

אמיל נולדה (1867-1956)

 
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 אינץ '. שמן על בד (67.31 x 89.85 ס"מ)
מקור ומקור
יואכים פון לפל, נויקירכן, 1958
אוסף פרטי, גרמניה
סות'ביס ניו יורק, אימפרסיוניסט ואמנות מודרנית מכירת ערב: יום שלישי, 2 בנובמבר 2010, Lot 00021
אוסף פרטי, ניו יורק
ספרות
מרטין אורבן, אמיל נולדה, קטלוג ראיזונה של ציורי השמן, כרך א'. שתיים, 1951-1915, לונדון, 1990, מס' 1250, מאויר עמ' 511
לברר

"תמונות הן ישויות רוחניות. נשמתו של הצייר חיה בתוכם." – אמיל נולדה

היסטוריה

אמיל נולדה, שהוכשר כמגלף עץ, היה כמעט בן 30 לפני שיצר את ציוריו הראשונים. הציורים המוקדמים דמו לרישומים ולחיתוכי העץ שלו: דמויות גרוטסקיות עם קווים נועזים וניגודים חזקים. הסגנון היה חדש, והוא היווה השראה לתנועה המתהווה Die Brücke (הגשר), שחבריה הזמינו את נולדה להצטרף אליהם בשנת 1906.  אבל, רק כשהגן הפך למוקד שלו ב-1915, הוא בנה על שליטתו בבהירות מנוגדת כדי להתמקד בצבע כאמצעי הביטוי העליון.  מאוחר יותר, נולד טען ש"צבע הוא כוח, כוח הוא חיים", והוא לא יכול היה לאפיין טוב יותר מדוע ציורי הפרחים שלו מחדשים את תפיסת הצבע שלנו.

הרבה מהעוצמה של רגישויות הצבעים הדרמטיות, דמויות הווגנריות, של נוילדה היא ההשפעה של בימוי צבעי יסוד, כמו האדומים העמוקים והצהובים הזהובים של זוננבלומן, אבנד השני, על רקע פלטת צבעים קודרת. הניגודיות מדגישה ומעמיקה את זוהר הפרחים, לא רק מבחינה ויזואלית, אלא גם מבחינה רגשית. ב-1937, כשאמנותו של נולדה, נדחתה, הוחרמה וטומאה, ציוריו הוצגו כ"אמנות מנוונת" ברחבי גרמניה הנאצית בגלריות מוארות באפלולית. למרות הטיפול הזה, מעמדו של נולדה כאמן מנוון נתן לאמנותו מרחב נשימה רב יותר משום שניצל את ההזדמנות לייצר יותר מ-1,300 צבעי מים, שאותם כינה "תמונות לא מצוירות". סגנון הציור שלו, שאינו טירון בטיפול בצבעי מים, היה סימן ההיכר של השטיפות השקופות והטעונות ביותר שלו מאז 1918. Sonnenblumen, Abend II, שצויר בשנת 1944, הוא שמן נדיר בזמן מלחמה. הוא נתן לדמיונו להשתולל עם עבודה זו, והשימוש שלו בטכניקות רטובות על רטובות הגביר את הדרמה של כל עלי כותרת.

העיסוק האינטנסיבי של נולדה בצבע ובפרחים, במיוחד חמניות, משקף את מסירותו המתמשכת לוואן גוך.  הוא היה מודע לוואן גוך כבר ב-1899, ובמהלך שנות ה-20 ותחילת שנות ה-30 של המאה ה-20 ביקר בכמה תערוכות של יצירתו של האמן ההולנדי.  הם חלקו אהבה עמוקה לטבע. מסירותו של נולדה להבעה והשימוש הסמלי בצבע מצאו מלאות בנושא החמניות, וזה הפך לסמל אישי עבורו, כפי שקרה לוואן גוך.

"צבע הוא כוח, כוח הוא חיים." – אמיל נולדה

תובנות שוק

  • NoldeAMR
  • ציורי חמניות ממומשים במלואם כמעט ואינם זמינים, ורוב העבודות בנושא זה נמצאות במוסדות המוזיאון.  
  • כאשר ציורי פרחים הגיעו למכירה פומבית, הם היו בין היצירות הנמכרות ביותר של נולדה.
  • כפי שממחיש הגרף של Art Market Research, השוק של אמיל נולדה העריך 648.1% מאז 1976.

תוצאות מובילות במכירה פומבית

שמן על בד, 29X35 אינץ'. נמכר בכריסטי'ס ניו יורק: אוקטובר 2020.

"הרבסטמיר ה-16" (1911) נמכר ב-7,344,500 דולר.

שמן על בד, 29X35 אינץ'. נמכר בכריסטי'ס ניו יורק: אוקטובר 2020.
שמן על בד, 34 1/4 x 39 5/8 אינץ'. נמכר בכריסטי'ס ניו יורק: נובמבר 2017.

"Indische Tänzerin" (1917) נמכר ב-5,262,500 דולר.

שמן על בד, 34 1/4 x 39 5/8 אינץ'. נמכר בכריסטי'ס ניו יורק: נובמבר 2017.
שמן על בד, 18 1/8 x 19 1/2 אינץ '. נמכר בכריסטי'ס לונדון: יוני 2006.

"Rotblondes Mädchen" (1919) נמכר ב-3,826,851 דולר.

שמן על בד, 18 1/8 x 19 1/2 אינץ '. נמכר בכריסטי'ס לונדון: יוני 2006.
שמן על בד, 283/4 x 343/4 אינץ'. נמכר בכריסטי'ס לונדון: יוני 2006.

"Sonnenuntergang" (1909) נמכר ב-3,517,759 דולר.

שמן על בד, 283/4 x 343/4 אינץ'. נמכר בכריסטי'ס לונדון: יוני 2006.

ציורים דומים שנמכרו במכירה פומבית

שמן על בד, 26 1/2 x 34 1/2 אינץ'. נמכר ב-Grisebach GmbH, ברלין: דצמבר 2021.

"Meer I" (1947) נמכר ב-3,132,800 דולר.

שמן על בד, 26 1/2 x 34 1/2 אינץ'. נמכר ב-Grisebach GmbH, ברלין: דצמבר 2021.
  • צויר שלוש שנים אחרי זוננבלומן, אבנד השני
  • מעט קטן יותר מזוננבלומן, אבנד השני
  • במקום פרחים, מיר הראשון הוא נוף ים, נושא נוסף שנולדה תיקן לעתים קרובות בתקופה זו
שמן על בד, 28X22 אינץ'. נמכר ב-Grisebach GmbH, ברלין: יוני 2007.

"Kleine Sonnenblumen" (1946) נמכר ב-3,042,500 דולר.

שמן על בד, 28X22 אינץ'. נמכר ב-Grisebach GmbH, ברלין: יוני 2007.
  • צויר שנתיים אחרי זוננבלומן, אבנד השני
  • מעט קטן יותר מזוננבלומן, אבנד השני
  • כולל גם נושא חמניות
  • ציור זה נכלל ברטרוספקטיבה של Nolde משנת 2014 במוזיאון לואיזיאנה לאמנות מודרנית, דנמרק
שמן על בד, 29X39 13/4 אינץ'. נמכר בסות'ביס, ניו יורק: נובמבר 2009.

"Üppiger Garten" (1945) נמכר ב-2,658,500 דולר.

שמן על בד, 29X39 13/4 אינץ'. נמכר בסות'ביס, ניו יורק: נובמבר 2009.
  • צויר שנה לאחר זוננבלומן, אבנד השני
  • מעט גדול יותר מזוננבלומן, אבנד השני
  • אמנם לא תיאור של חמניות, אבל Üppiger Garten הוא נוף פרחוני דומה חתוך היטב
שמן על בד, 26 3/4 על 34 7/8 אינץ '. נמכר בסות'ביס, לונדון: יוני 2012.

"Grosse Sonnenblume und Clematis" (1943) נמכר ב-2,179,094 דולר.

שמן על בד, 26 3/4 על 34 7/8 אינץ '. נמכר בסות'ביס, לונדון: יוני 2012.
  • צויר שנה לפני זוננבלומן, אבנד השני
  • מעט קטן יותר מזוננבלומן, אבנד השני
  • אותו נושא חמניות

ציורים באוספי מוזיאונים

מוזיאון נסיונל תיסן-בורנמיסה

"חמניות זוהרות" (1936), שמן על בד, 35X26 1/2 אינץ'.

מוזיאון המטרופוליטן לאמנות, ניו יורק

"חמניות גדולות" (1928), שמן על בד, 29X35 אינץ'.

המכון לאמנויות של דטרויט

"חמניות" (1932), שמן על בד, 29X35 אינץ'.

המוזיאון לאמנות של אוניברסיטת פרינסטון, ניו ג'רזי

"חמניות" (1930 בקירוב), אקוורל על נייר, 9X11 אינץ'.

מוזיאון אלברטינה, וינה, אוסטריה

"Herbstblumengarten" (1934), שמן על בד, 28 3/4 x 34 5/8 אינץ '.

הגלריה הלאומית לאמנות, וושינגטון, ד.C.

"חמניות, דליות ורודות ולבנות, ודלפיניום כחול" (1930/1940 בקירוב), צבעי מים (רקטו ורסו) על נייר יפני, 18 5/8 x 14 אינץ '.
"צהוב יכול לבטא אושר, ואז שוב, כאב. יש אדום להבה, אדום דם ואדום ורד; יש כחול כסוף, כחול שמיים וכחול רעם; כל צבע נושא את נשמתו, מענג או מגעיל או מגרה אותי." – אמיל נולדה

אימות

משאבים נוספים

אמיל נולדה. אגדה גרמנית. האמן בתקופת המשטר הנאצי

קראו על תערוכת 2019 של עבודותיו של נולדה במוזיאון הממלכתי בברלין.

1963 רטרוספקטיבה של MOMA

ראו ציורי חמניות דומים שנכללו ברטרוספקטיבה הגדולה הראשונה של עבודתו של נולדה, שהוצגה ב-1963 ב-MOMA, ניו יורק.

קירשנר ונולדה: אקספרסיוניזם. קולוניאליזם

צפו בסרטון שליווה את תערוכת 2021 של מוזיאון סטדליק "קירשנר ונולדה: אקספרסיוניזם. קולוניאליזם".

לברר

בקשה - סינגל אמנותי

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