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エミール・ノルデ(1867-1956)

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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.
ゾンネンブルメン、アベンドII194426 3/8 x 34 in.(66.99 x 86.36 cm)キャンバスに油彩
出所
ヨアヒム・フォン・レーペル、ノイキルヒェン、1958年
ドイツ、個人蔵
サザビーズ・ニューヨーク、印象派＆モダンアート・イヴニングセール。2010年11月2日(火)、Lot 00021
ニューヨーク、個人蔵
文学
マーティン・アーバン『エミール・ノルデ 油彩画カタログレゾネ 第2巻 1915-1951』ロンドン、1990年、第1250号、図版p.511
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"絵は霊的な存在である。画家の魂はその中に生きている。"- エミール・ノルデ

歴史

木彫り職人としての訓練を受けたエミール・ノルデは、30歳を過ぎてから初めて絵画を制作した。初期の絵画は、大胆な線と強いコントラストで描かれたグロテスクな人物像で、彼のデッサンや木版画に似ていた。そのスタイルは新しく、1906年にノルデが招待された新興の運動「Die Brücke（橋）」にインスピレーションを与えた。 しかし、1915年に庭を拠点とするようになってから、彼は対照的な輝度の習得に加え、最高の表現手段である色彩に焦点を当てるようになる。 後にノルデは「色彩は力であり、力強さは生命である」と主張したが、彼の花の絵が私たちの色彩感覚を蘇らせる理由を、これ以上ないほど言い当てているのではないだろうか。

ノルデのドラマチックでワーグナー的な色彩感覚の強さの多くは、《Sonnenblumen, Abend II》の深い赤や黄金色のような原色を、地味な色調で演出する効果である。そのコントラストは、視覚的なものだけでなく、情緒的にも花の輝きを強調し、深化させる。1937年、ノルデの芸術が拒絶され、没収され、汚されたとき、彼の絵は「退廃芸術」としてナチス・ドイツ中の薄暗いギャラリーを練り歩いた。しかし、堕落した芸術家であるがゆえに、ノルデの芸術にはゆとりが生まれた。水彩画の扱いに慣れていない彼は、1918年以来、自由な発想で、電荷の高い透明なウォッシュを描くのが特徴であった。1944年に描かれた《Sonnenblumen, Abend II》は、戦時中の貴重な油彩画である。イマジネーションを膨らませ、ウェット・オン・ウェットの技法で花びら一枚一枚のドラマを高めた作品である。

ノルデが色彩や花、特にひまわりに強いこだわりを持つのは、ゴッホへの傾倒が続いていたためである。 ゴッホのことは1899年にはすでに知っており、1920年代から1930年代初頭にかけて、オランダの画家の展覧会を何度か訪れている。 二人は自然に対する深い愛情を共有していた。ノルデの表現への献身と象徴的な色彩の使用は、ひまわりという主題に充実感を見出し、それはゴッホにとってそうであったように、彼自身の象徴となったのである。

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"色彩は力であり、力強さは生命である"- エミール・ノルデ

マーケットインサイト

  • NoldeAMR
  • ひまわりを描いた完全な作品はほとんどなく、この主題の作品のほとんどは美術館に所蔵されています。  
  • 花の絵がオークションに出品されると、ノルデの作品の中で最も高く売れた作品に数えられる。
  • アート・マーケット・リサーチのグラフが示すように、エミール・ノルデの相場は1976年以来648.1%も上昇している。
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オークションでの上位入賞実績

キャンバスに油彩、29 x 35 in.クリスティーズ・ニューヨークで落札。2020年10月

"Herbstmeer XVI"（1911年）は7,344,500ドルで落札された。

キャンバスに油彩、29 x 35 in.クリスティーズ・ニューヨークで落札。2020年10月
油彩・キャンバス 34 1/4 x 39 5/8 in.クリスティーズ・ニューヨークで落札。2017年11月に

"Indische Tänzerin" (1917)は5,262,500ドルで落札された。

油彩・キャンバス 34 1/4 x 39 5/8 in.クリスティーズ・ニューヨークで落札。2017年11月に
油彩・キャンバス 18 1/8×19 1/2 インチ クリスティーズ・ロンドンで落札。2006年6月

"Rotblondes Mädchen"（1919年）が3,826,851ドルで落札された。

油彩・キャンバス 18 1/8×19 1/2 インチ クリスティーズ・ロンドンで落札。2006年6月
キャンバスに油彩、28¾×34¾インチ。クリスティーズ・ロンドンにて落札。2006年6月

"Sonnenuntergang"（1909年）は3,517,759ドルで落札された。

キャンバスに油彩、28¾×34¾インチ。クリスティーズ・ロンドンにて落札。2006年6月

オークションで落札された絵画

油彩・キャンバス、26 1/2 x 34 1/2 インチ。 グリゼバッハ社（ベルリン）にて販売。2021年12月

"Meer I"（1947年）が3,132,800ドルで落札された。

油彩・キャンバス、26 1/2 x 34 1/2 インチ。 グリゼバッハ社（ベルリン）にて販売。2021年12月
  • Sonnenblumen』から3年後に描かれた『Abend II
  • Sonnenblumen, Abend IIより若干小さい。
  • Meer Iは花柄というより海景で、これもノルデがこの時期に頻繁に改訂した主題である。
油彩・キャンバス、28×22インチ ベルリンのグリゼバッハ社で販売。2007年6月

"Kleine Sonnenblumen" (1946)は3,042,500ドルで落札されました。

油彩・キャンバス、28×22インチ ベルリンのグリゼバッハ社で販売。2007年6月
  • Sonnenblumen』から2年後に描かれた『Abend II
  • Sonnenblumen, Abend IIより若干小さい。
  • ヒマワリの被写体にも注目
  • この絵は、2014年にルイジアナ近代美術館で開催されたノルデ回顧展に出品されたものです（デンマーク
油彩・キャンバス 29 x 39 13/4 インチ ニューヨーク、サザビーズにて販売。2009年11月

"ウピガー・ガルテン"（1945年）が2,658,500ドルで落札されました。

油彩・キャンバス 29 x 39 13/4 インチ ニューヨーク、サザビーズにて販売。2009年11月
  • Sonnenblumen, Abend II」から1年後に描かれた作品
  • Sonnenblumen, Abend IIより若干大きい。
  • ひまわりを描いたものではありませんが、ÜppigerGartenは同じような花の風景をきっちり切り取っています
油彩・キャンバス 26 3/4 x 34 7/8 in.サザビーズ、ロンドンにて販売。2012年6月

"Grosse Sonnenblume und Clematis" (1943)は2,179,094ドルで落札された。

油彩・キャンバス 26 3/4 x 34 7/8 in.サザビーズ、ロンドンにて販売。2012年6月
  • Sonnenblumen, Abend II"の1年前に描かれたもの。
  • Sonnenblumen, Abend IIより若干小さい。
  • 同じヒマワリの被写体

美術館所蔵の絵画

"光るひまわり"(1936) 油彩・キャンバス 35 x 26 1/2 in.

ティッセン・ボルネミッサ国立美術館

"光るひまわり"(1936) 油彩・キャンバス 35 x 26 1/2 in.
"大きなひまわり"（1928年）油彩・キャンバス 29 x 35 in.

メトロポリタン美術館(ニューヨーク)

"大きなひまわり"（1928年）油彩・キャンバス 29 x 35 in.
"ひまわり"（1932年）油彩・キャンバス 29 x 35 in.

デトロイト・インスティテュート・オブ・アーツ

"ひまわり"（1932年）油彩・キャンバス 29 x 35 in.
"ひまわり" 1930年頃 紙に水彩、9×11インチ。

プリンストン大学美術館（ニュージャージー州

"ひまわり" 1930年頃 紙に水彩、9×11インチ。
「Herbstblumengarten" (1934)、油彩・キャンバス、28 3/4 x 34 5/8 in.

アルベルティーナ美術館（オーストリア・ウィーン

「Herbstblumengarten" (1934)、油彩・キャンバス、28 3/4 x 34 5/8 in.
「ひまわり、ピンクと白のダリア、青いデルフィニウム」（1930/1940年頃）、水彩（レクト、バーソ）、和紙、18 5/8 x 14 in.

ナショナル・ギャラリー（ワシントンD.C.）。

「ひまわり、ピンクと白のダリア、青いデルフィニウム」（1930/1940年頃）、水彩（レクト、バーソ）、和紙、18 5/8 x 14 in.
「黄色は幸せを表現することもあれば、痛みを表現することもある。炎の赤、血の赤、バラの赤があり、銀の青、空の青、雷の青がある。どの色もそれぞれの魂を宿し、私を喜ばせ、嫌わせ、刺激する。"- エミール・ノルデ

認証

マーティン・アーバン『エミール・ノルデ 油彩画カタログレゾネ 第2巻 1915-1951』ロンドン、1990年、第1250号、図版p.511

マーティン・アーバン『エミール・ノルデ 油彩画カタログレゾネ 第2巻 1915-1951』ロンドン、1990年、第1250号、図版p.511

イメージギャラリー

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追加リソース

2019年にベルリン国立博物館にて開催されるノルデの展覧会についてご紹介します。

エミール・ノルデドイツの伝説。ナチス政権下の芸術家

2019年にベルリン国立博物館にて開催されるノルデの展覧会についてご紹介します。
1963年にニューヨークのMOMAで開催されたノルデの最初の大規模な回顧展に出品された同様のひまわりの絵画をご覧ください。

1963年MOMA回顧展

1963年にニューヨークのMOMAで開催されたノルデの最初の大規模な回顧展に出品された同様のひまわりの絵画をご覧ください。
ステデライク美術館の2021年の展覧会「キルヒナーとノルデ」に付随したビデオをご覧ください。表現主義。コロニアリズム"

キルヒナーとノルデ表現主義コロニアリズム

ステデライク美術館の2021年の展覧会「キルヒナーとノルデ」に付随したビデオをご覧ください。表現主義。コロニアリズム"

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