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埃米尔-诺尔德(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.
Sonnenblumen, Abend II194426 3/8 x 34 英寸（66.99 x 86.36 厘米(66.99 x 86.36 厘米)布面油画
种源
约阿希姆-冯-莱佩尔，新基兴，1958年
私人收藏，德国
纽约苏富比，印象派和现代艺术晚间拍卖。2010年11月2日，星期二，拍品00021
私人收藏，纽约
文学
马丁-乌尔班，《埃米尔-诺尔德油画作品目录》，第二卷，1915-1951年，伦敦，1990年，第1250号，图解第511页。
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"图片是精神的存在。画家的灵魂就住在其中"。- 埃米尔-诺尔德

历程

受过木雕训练的埃米尔-诺尔德在将近30岁的时候才开始创作他的第一幅画。早期的画作类似于他的素描和木刻：怪诞的人物，线条大胆，对比强烈。这种风格是新的，它激发了新生的Die Brücke（桥）运动，其成员在1906年邀请诺尔德加入他们。 但是，直到1915年花园成为他的工作场所时，他才在掌握对比鲜明的亮度的基础上，把重点放在色彩上，作为最高的表达手段。 后来，诺尔德声称 "颜色是力量，力量是生命"，他不能更好地描述为什么他的花卉画能重振我们对颜色的感知。

诺尔德的戏剧性、瓦格纳式的色彩感觉，很大程度上是将原色，如《Sonnenblumen, Abend II》的深红和金黄，与阴郁的色调相映成趣。这种对比突出并加深了花朵的亮度，不仅在视觉上，而且在情感上也是如此。1937年，当诺尔德的艺术被拒绝、被没收、被玷污时，他的画作被当作 "堕落的艺术 "在整个纳粹德国的昏暗的画廊里游行。尽管受到这种待遇，诺尔德的堕落艺术家身份给了他的艺术更多的喘息空间，因为他抓住机会创作了1300多幅水彩画，他称之为 "未画的画"。他不是处理水彩的新手，自1918年以来，他自由流动的绘画风格一直是他高度充电、透明水彩的标志。Sonnenblumen, Abend II》画于1944年，是一幅罕见的战时油画。他让自己的想象力在这幅作品中发挥得淋漓尽致，他对湿法技术的运用增强了每一片花瓣的戏剧性。

诺尔德对色彩和花朵的强烈关注，特别是向日葵，反映了他对梵高的持续投入。 他早在1899年就知道梵高，在20世纪20年代和30年代初，他参观了这位荷兰艺术家的几次作品展览。 他们对大自然有着深刻的爱。诺尔德对表达的执着和对色彩的象征性使用在向日葵的主题中找到了充实感，它成为他的个人象征，就像它对梵高一样。

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"色彩是力量，力量是生命"。- 埃米尔-诺尔德

市场情报

  • NoldeAMR
  • 完全实现的向日葵画作很少，这个主题的大部分作品都在博物馆机构中。  
  • 当花画被拍卖时，它们是诺尔德销量最高的作品之一。
  • 正如艺术市场研究公司的图表所示，自1976年以来，埃米尔-诺尔德的市场已经升值了648.1%。
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拍卖会的最高结果

布面油画，29 x 35英寸。在纽约佳士得售出。2020年10月。

"Herbstmeer XVI"（1911年）以734.45万美元成交。

布面油画，29 x 35英寸。在纽约佳士得售出。2020年10月。
布面油画，34 1/4 x 39 5/8 英寸。在纽约佳士得售出。2017年11月。

"Indische Tänzerin"（1917年）以526.25万美元成交。

布面油画，34 1/4 x 39 5/8 英寸。在纽约佳士得售出。2017年11月。
布面油画，18 1/8 x 19 1/2英寸，在伦敦佳士得拍卖行售出。2006年6月。

"Rotblondes Mädchen"（1919年）以3,826,851美元成交。

布面油画，18 1/8 x 19 1/2英寸，在伦敦佳士得拍卖行售出。2006年6月。
布面油画，28¾ x 34¾英寸。在伦敦佳士得拍卖会上售出。2006年6月。

"Sonnenuntergang"（1909年）以3,517,759美元成交。

布面油画，28¾ x 34¾英寸。在伦敦佳士得拍卖会上售出。2006年6月。

同类拍卖的画作

布面油画，26 1/2 x 34 1/2英寸。在柏林Grisebach GmbH出售。2021年12月。

"Meer I"（1947年）以3,132,800美元成交。

布面油画，26 1/2 x 34 1/2英寸。在柏林Grisebach GmbH出售。2021年12月。
  • 绘画于Sonnenblumen三年后，Abend II
  • 比Sonnenblumen略小，Abend II
  • Meer I》不是花卉，而是一幅海景画，这是诺尔德在这一时期经常修改的另一个主题
布面油画，28 x 22英寸，在柏林Grisebach GmbH出售。2007年6月。

"Kleine Sonnenblumen"（1946年）以3,042,500美元成交。

布面油画，28 x 22英寸，在柏林Grisebach GmbH出售。2007年6月。
  • 绘画于Sonnenblumen两年后，Abend II
  • 比Sonnenblumen略小，Abend II
  • 还以向日葵为主题
  • 这幅画被列入2014年在路易斯安那州现代艺术博物馆举行的诺尔德回顾展，丹麦
布面油画，29 x 39 13/4英寸，在纽约苏富比拍卖行售出。2009年11月。

"Üppiger Garten"（1945年）以2,658,500美元成交。

布面油画，29 x 39 13/4英寸，在纽约苏富比拍卖行售出。2009年11月。
  • 画在Sonnenblumen，Abend II之后一年
  • 比Sonnenblumen略大，Abend II
  • 虽然不是对向日葵的描写，但《乌皮格花园》是一个类似的紧缩的花卉景观。
布面油画，26 3/4 x 34 7/8 英寸。在伦敦苏富比拍卖行售出。2012年6月。

"Grosse Sonnenblume und Clematis"（1943年）以2,179,094美元成交。

布面油画，26 3/4 x 34 7/8 英寸。在伦敦苏富比拍卖行售出。2012年6月。
  • 画在Sonnenblumen的前一年，Abend II
  • 比Sonnenblumen略小，Abend II
  • 同样的向日葵主题

博物馆收藏的画作

"发光的向日葵"（1936年），布面油画，35 x 26 1/2英寸。

蒂森-博内米萨国家博物馆

"发光的向日葵"（1936年），布面油画，35 x 26 1/2英寸。
"大型向日葵"（1928年），布面油画，29 x 35英寸。

大都会艺术博物馆，纽约

"大型向日葵"（1928年），布面油画，29 x 35英寸。
"向日葵"（1932），布面油画，29 x 35英寸。

底特律艺术学院

"向日葵"（1932），布面油画，29 x 35英寸。
"向日葵"（约1930年），纸上水彩，9 x 11英寸。

普林斯顿大学艺术博物馆，新泽西州

"向日葵"（约1930年），纸上水彩，9 x 11英寸。
"Herbstblumengarten"（1934年），布面油画，28 3/4 x 34 5/8 英寸。

阿尔贝蒂纳博物馆，维也纳，奥地利

"Herbstblumengarten"（1934年），布面油画，28 3/4 x 34 5/8 英寸。
"向日葵，粉色和白色的大红花，以及蓝色的飞燕草"（约1930/1940），日本纸上的水彩（正反两面涂抹），18 5/8 x 14英寸。

国家艺术馆，华盛顿特区。

"向日葵，粉色和白色的大红花，以及蓝色的飞燕草"（约1930/1940），日本纸上的水彩（正反两面涂抹），18 5/8 x 14英寸。
"黄色可以表达幸福，然后又可以表达痛苦。有火焰红、血红和玫瑰红；有银蓝、天蓝和雷蓝；每一种颜色都蕴藏着自己的灵魂，让我高兴或厌恶或刺激。"- 埃米尔-诺尔德

认证

马丁-乌尔班，《埃米尔-诺尔德油画作品目录》，第二卷，1915-1951年，伦敦，1990年，第1250号，图解第511页。

马丁-乌尔班，《埃米尔-诺尔德油画作品目录》，第二卷，1915-1951年，伦敦，1990年，第1250号，图解第511页。

图片库

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其他资源

阅读关于2019年在柏林国立博物馆举办的诺尔德作品展。

埃米尔-诺尔德。一个德国传奇。纳粹政权时期的艺术家

阅读关于2019年在柏林国立博物馆举办的诺尔德作品展。
请看类似的向日葵画作包括在1963年在纽约MOMA展出的诺尔德作品的第一个大型回顾展中。

1963年MOMA回顾展

请看类似的向日葵画作包括在1963年在纽约MOMA展出的诺尔德作品的第一次大型回顾展中。
观看这段视频，它伴随着斯泰利克博物馆2021年的展览 "基希纳和诺尔德"。表现主义。殖民主义"。

基希纳和诺尔德。表现主义。殖民主义

观看这段视频，它伴随着斯泰利克博物馆2021年的展览 "基希纳和诺尔德"。表现主义。殖民主义"。

询问

查询 - 艺术单品

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